The Professional's Guide to HD Tools & Technique

Vol. 19 No. 8 | August 2011

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volume 19
from the editor
number 8

august 2011 | opinion

digital August 2011

EDITORIAL
EDITOR‐IN‐CHIEF Cristina Clapp

School Supplies
cclapp@nbmedia.com
MANAGING EDITOR Katie Makal
kmakal@nbmedia.com
TECHNICAL EDITOR Jay Holben
jayholben@gmail.com
WEB EDITOR Sarv Taghavian,
staghavian@nbmedia.com If you’re joining us at this year’s DV Expo, which takes place Sept. 20-22 in Pasadena,
CONTRIBUTING EDITORS J.R. Bookwalter, Calif., you’ll be getting schooled. Our fall conference program is all about education,
James Careless, Chuck Gloman, Buck McNeely,
Carl Mrozek, Oliver Peters, Stefan Sargent, Jon Silberg, with intensive, involved, immersive sessions that give you no choice but to learn
Ned Soltz, Iain Stasukevich, Joy Zaccaria
things. You’ll be getting a lot of expert information, data and material, and you’re
ADVERTISING going to want to take a lot of notes.
EAST COAST SALES MANAGER Susan Shores
sshores@nbmedia.com 212. 378.0400 Ext. 528 Each of our day-long sessions will give you an in-depth education, whether you Each of our
want to learn about shooting with large-sensor cameras, building your own post-
day-long
WEST/CENTRAL SALES MANAGER Jeff Victor
jeffvictor@comcast.net 847. 367. 4073
EUROPE SALES MANAGER Bob Kennedy
production studio or color correcting your projects. We’ll also offer instruction on
bkennedy@nbmedia.com
011. 44. 1279. 861264
some of our favorite new cameras, including the RED Epic and Sony’s NEX-FS100 sessions
and PMW-F3.
DIGITAL VIDEO EXPO SALES
Contact your DV representative will give you
an in-depth
CLASSIFIED AD SALES Susan Shores
sshores@nbmedia.com 212. 378. 0400 Ext. 528
Some conference highlights include:
ART & PRODUCTION
SENIOR ART DIRECTOR Nicole Cobban
WORKING WITH LARGE‐SENSOR CAMERAS
Large-sensor cameras have gained immense popularity...but are they appropriate for
education,
whether
ART DIRECTOR Annmarie LaScala
PRODUCTION MANAGER Davis White
703. 852. 4615 dwhite@nbmedia.com
every shooting situation? How do we take full advantage of their capabilities while
ADVERTISING COORDINATOR Caroline Freeland
cfreeland@nbmedia.com
being cognizant of their limitations? In this all-day session, DV contributing editor
Ned Soltz provides a look at a selection of HDSLRs, Panasonic’s AG-AF100, Sony’s
you want to
CIRCULATION
ASSOCIATE DIRECTOR FOR
PMW-F3 and NEX-FS100, and RED’s Epic in terms of image quality, operation, fea- learn about
tures and data management.
shooting
AUDIENCE DEVELOPMENT Tracey H. Dwyer
CIRCULATION MANAGER Kwentin Keenan
CIRCULATION CUSTOMER SERVICE
DEMYSTIFYING DIGITAL
Michele Fonville
DV technical editor Jay Holben takes you on an in-depth journey through the complex with large-
SUBSCRIPTIONS:
DV, P.O. Box 221, Lowell, MA 01853
Telephone: 888‐266‐5828
world of digital images to clarify and demystify the myriad formats. Gain an apprecia- sensor
tion of the advantages and disadvantages of individual HD formats, sensors, codecs,
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a clear picture of how to read a camera spec sheet and actually understand it!
building your
NEWBAY MEDIA VIDEO/BROADCAST GROUP
EXECUTIVE VICE PRESIDENT | GROUP PUBLISHER Carmel King
VP SALES | GROUP PUBLISHER Eric Trabb BUILDING YOUR OWN STUDIO
own post-
EDITORIAL DIRECTOR ‐ VIDEO Cristina Clapp
EDITORIAL DIRECTOR ‐ BROADCAST Carter Ross The cost of being in production or post is generally discussed on the basis of production
WEB DIRECTOR Ragan Whiteside
individual tools, but the reality is that there’s a lot more that goes into a success-
ONLINE PRODUCTION MANAGER Robert Granger
ful technical plant. DV contributing editor Oliver Peters will guide you through a
studio or
color
NEWBAY MEDIA CORPORATE
PRESIDENT & CEO Steve Palm
day of training that encompasses various aspects of facility design. The session
CHIEF FINANCIAL OFFICER Paul Mastronardi will include an overview of general design, including the basics of studio acoustics,
CONTROLLER Jack Leidke
VICE PRESIDENT OF DIGITAL MEDIA Joe Ferrick rack room layout, shared storage, and various postproduction suites. correcting
VICE PRESIDENT OF AUDIENCE DEVELOPMENT Denise Robbins
VICE PRESIDENT OF INFORMATION TECHNOLOGY Greg Topf your
VICE PRESIDENT OF HUMAN RESOURSES Ray Vollmer As we have for previous conferences, we’re teaming with our friends at Weynand
VICE PRESIDENT OF PRODUCTION & MANUFACTURING
Bill Amstutz Training to offer a series of hands-on training classes for software including Apple projects.
VICE PRESIDENT OF CONTENT & MARKETING
Anthony Savona Final Cut Pro X, Adobe CS 5.5, Avid Media Composer 5 and Apple Motion 5. We’ve
also developed a special one-day hands-on seminar that focuses on translating your
REPRINTS AND PERMISSIONS: current FCP skills into the new FCP X.
Please contact our Reprint Coordinator
at Wright’s Media: 877. 652. 5295 So sharpen your pencils, sign up at www.dvexpo.com, and we’ll see you there.
PUBLISHED BY
NEWBAY MEDIA LLC
28 E 28th Street, 12th Floor
New York, NY 10016
Tel: 212. 378. 0400
Fax: 212. 378. 0470
Web: www.nbmedia.com

dv.com
4 Inside dv.com/Aug2011 |volume 19|number 8
contents | august 2011

update
6 News & Notes
Linstrom chooses Sachtler for Nat Geo shoot,
OConnor Ultimate 1030 D, Red Giant Magic
Bullet Suite 11, Hess gets sporty with Norbert,
East Pleasant Pictures chooses Canon,
Panasonic 3DA1 goes to space, Hitachi enrolls at
NSU, GenArts releases Sapphire Edge.

in review
12 Apple Final Cut Pro X
Is this app ready for primetime?
By Oliver Peters 12
18 Litepanels MicroPro Hybrid
This portable, battery-powered fixture does
double-duty as an on-camera flash.
On Our Cover: Apple released Final Cut Pro X on June
21. Oliver Peters takes a look inside.
By Jay Holben

19 Vinten Vision blue Tripod

This system offers "perfect balance" and an all-
important illuminated bubble level.
By Chuck Gloman

22 ikan VL7
A cost-effective and compact solution for
monitoring video.
By Carl Mrozek

features
24 No Reservations with Sony's F3
Videographer Zach Zamboni is shooting two
Anthony Bourdain Travel Channel shows—No
Reservations and Layover—with Panavised Sony
PMW-F3 cameras.
By Jon Silberg

columns
24
26 Instant Expert
Ned Soltz looks at on-board recorders.

28 DV101
DV (ISSN 1541-0943) is published monthly by NewBay Media L.L.C. at 28 E 28th Street, 12th Floor, New York, NY, 10016. Telephone: 212-378-0400.
Jay Holben considers a few more factors Periodicals postage paid at New York, New York, and at additional mailing offices. U.S. subscription rate is $29.97 for one year; Mexico and Canada are
important when choosing a lens. $39.97 (including GST); foreign airmail is $79.97; back issues $7. Prepayment is required on all foreign subscriptions in U.S. funds drawn on a U.S. bank. All
rates are one year only. DV, Digital Video, Digital Video Magazine, DV Full Motion, DV Web Video, DV Expo, Web Video Expo, Digital Video Expo, and Digital
34 Production Diary Video Conference and Exposition are trademarks of NewBay Media L.L.C. All material published in DV is copyrighted © 2011 by NewBay Media L.L.C. All
rights reserved. POSTMASTER: Send address changes to DV, Subscription Services, P.O. Box 221, Lowell, MA 01853. Return undeliverable Canadian addresses
Stefan Sargent remembers his first video to Bleuchip International, P.O. Box 255542, London, ON N6C 6B2. DV makes every effort to ensure the accuracy of all information published in the magazine;
camera purchase. however, it assumes no responsibility for damages due to errors or omissions. Printed in the USA.

dv.com
 EDIT www.aja.com

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B e c a u s e i t m a t t e r s .
 6
Update | mousing
around
news & notes | august 2011

>Curb Your Enthusiasm:

Inside the Show’s
Improvisational
Shooting Style
For the several million loyal fans of
Seinfeld co-creator, writer, director,
producer and professional pessimist
Larry David, no doubt it’s been the
longest 18 months in television his-
tory. David’s Curb Your Enthusiasm
returns to HBO this month after a
hiatus that began in late 2009.
www.videography.com

>Manuel Alberto Claro,

Linstrom Chooses Sachtler for Nat Geo Shoot Cinematographer,
Melancholia
When cinematographer David Linstrom signed Danish cinematographer Manuel
on to shoot a segment of National Geographic Alberto Claro recalls that the oppor-
Wild—America’s Big Five, he turned to Sachtler tunity to shoot the new Lars von
for camera support. The segment, about a Trier film was something of a “secret
dream” come true.
polar bear survey conducted by scientists from
www.cinematographer.com
the United States Geological Survey, required
quick setups in extreme conditions.
find us online
“I would be covering everything from helicopter-to- digital edition:
helicopter shots to tripod shots of details of [anes- www.myDVmag.com
thetized] polar bears in the snow. We needed solid facebook:
support that could stand up to the rigors of the Arctic the controls make it a joy to work with a long lens. By www.facebook.com/
locations,” explains Linstrom, whose camera package using the tension settings, I personalize the balance pages/digital-video-magazine
featured a Sony PDW-F800 and the Sachtler System 20 and resistance so I can dial in just the right amount of online:
www.dv.com
S1 SL HD fluid head (100mm) and tripod. “Sachtler is tension in order to get beautifully smooth pans and
simply the best tripod in the industry for documentary tilts. And the head always works like it is supposed to, twitter:
www.twitter.com/
and field work. They are lightweight yet stable, and no matter what the temperature.” DVMagazine

>in focus: OConnor Ultimate 1030 D and 1030 Ds

Company: OConnor What It Is/Does: These fluid heads are designed for use with full-format sensor, lighter-
weight cameras such as the RED Epic and Scarlet and the Sony F3. Features include the stepless, ultra-smooth pan
and tilt fluid drag specifically enhanced to provide control and stability for digital cinematography shooting, and
the patented OConnor Sinusoidal Counterbalance system, which provides true, accurate balance at any point in
the tilt range. The OConnor 1030 D supports a payload up to 30 lb. at a 6” center of gravity and a +/- 90° tilt range.
The 1030 Ds supports up to 41 lb. at 6” center of gravity with a +/- 60° tilt range. Bottom Line: Maintains balance
with the new generation of large-format, lighter-weight cameras. Price: TBA Contact: www.ocon.com

dv.com
 Intensity Pro introduces professional HDMI and
analog editing in HD and SD for $199
Intensity Pro is the only capture and playback
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you to upgrade to Hollywood production quality
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Beyond the Limits of HDV
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Intensity Pro is fully compatible with both Adobe Premiere Pro
on Windows™ and Apple Final Cut Pro on Mac OS X™, as well
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8 digital
Update video
tweets
news & notes | august 2011

Red Giant Intros Magic Bullet Suite 11 >@LanceWeiler

Jean-Luc Godard: ‘Film is over.
What to do?’ http://bit.ly/rk9sBa

>@AndyShipsides
Please join us for Tech Tuesdays
in NYC @abelcine. Free events
on Tuesdays in our new training
space. http://conta.cc/mSI6VW

>@AlexMaragos
Had a quick talk with Jay-Z’s &
Snoop Dogg’s director Jeremy Rall
regarding R. Kelly’s new video.
This is what he used: http://t.co/
oSdK4X3

This significant upgrade to Magic
Bullet delivers nine software appli-
cations for professional color cor-
rection, enhancement and film
output. The two new products are
Cosmo, a tool for simple, elegant
cosmetic cleanup, and Looks 2,
the upgrade to the company’s
color treatment and imaging tools.
Also included is Grinder 1.5, which
delivers fast, simple transcoding
of DSLR/HDSLR footage to edit-
friendly formats. The 64-bit suite is
designed for use with Adobe CS 5.5,
Adobe Premiere Pro, Apple Final
Cut Pro and Apple Motion. FCP X
support will be available in the near
future.
>@bitrebels
Augmented Reality Cinema: A
Movie Lover’s App http://goo.gl/
fb/AgPJT
>@CNETNews
Kurt Vile music video shot with a
smartphone http://cnet.co/nlt7pG
>@FinalCutStudio
How to Make Final Cut Pro X More
Like Final Cut Pro 7 http://t.co/
EzsYzwo

dv.com most-read features (Direct links at dv.com/Aug2011) >@sundancefest

Cut and Paste Alert: #Sundance
documentary editors dip into their

< Final Cut Pro X: bins of knowledge and share their

A First Look and
First Impressions
Remember Apple’s grammati-
cally incorrect slogan a few
years ago, Think Different?
Well, Final Cut Pro X definitely
requires us to think differently.
Classic Cars, JVC Cams: Digital Alchemy and Cruisin’ Ohio
Regional car show Cruisin’ Ohio with Jeff Phelps is shot at classic car shows in and around Ohio. Broadcast on
Fox Sports Ohio, the show is produced locally by Digital Alchemy PDA, a company of five established in 2003
primarily to create original Web content. Since Phelps and Digital Alchemy principal John Stealy created Cruisin’
Ohio together and sold it to Fox Sports Ohio, the show has managed to land three regional Emmy nominations.
tips and tricks: http://bit.ly/qrMKR6
>@freshdv
First look at new #avid media
composer interface via @robthe-
editor http://t.co/1qO6mpC
>@cinefugue
How the Polish Brothers Are
Raking It In ($200K already) with
A Stealth, No Budget ($0) Movie
Shot on Canon 5D Mark II http://t.
co/pkvRl0E
>@robbiecarman
After a couple days with the Sony
OLED I’m convinced OLED is the
future of reference grade monitor-
ing. Would love @FSImonitors to
jump on it.

dv.com
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10 Update
Hess Gets Sporty with Norbert
news & notes | august 2011
When extreme sports photogra-
pher Michael Hess needed cam-
era support to shoot the Ultimate
Boarder competition at Mammoth
Mountain, his first stop was K-Tek. “I
needed something that would help
me hang up high above the boarders
and shoot video. What I found was
even better than I expected.
“Norbert Sport is perfect for the
smaller cameras like the Canon EOS
5D and 7D, as well as the Nikon
equivalent,” Hess continues. “I put
it to the test immediately, using
my Canon 5D Mark II to shoot the
skateboarding and snowboarding
action. I added a microphone and
monitor to the frame, and instead of
hanging onto the camera and get-
ting ‘jiggle video,’ the kind you get
seasick watching, I was able to get
extremely stable and exciting shots. I
could even dip down into the bowl as
the boarders hit the low point in their
ride and keep a greater balance than
with any other camera stabilizing
system out there.
“I’m sold. From now on, every
East Pleasant
Pictures
Climbs Aboard
with Canon
The challenge was simple:
shoot a series of commercials
for a major cruise ship line
amid vacationing passengers
without inconveniencing
them with the usual amount
of equipment and crew. For
East Pleasant Pictures, the
solution was equally simple:
shoot with Canon EOS 5D
Mk II and 1D Mk IV digital
SLR cameras.
time I do extreme shooting—or
even on-camera interviews—K-Tek’s
Norbert Sport is going to be my
go-to support.”
Directed by Xander
Strohm, the spots feature
candid scenes of cruise ship
passengers playing dodge-
ball, anchoring their own
vacation video newscasts,
and generally having a very
good time.
“Those spots were built
and designed around those
cameras,” explains direc-
tor/cinematographer Stash
Slionski. “On the cruise ship,
we were among people on
vacation who did not want
to be bothered by a produc-
tion in their midst. The DSLR
cameras worked out so well
that now we build our com-
mercial production budgets
around them.”
dv.com
NSU Adds Hitachi HD Cameras
Norfolk State University (NSU) in
Norfolk, Va., installed three Hitachi
SK-HD1000 digital HD cameras
in its television studio, which pro-
vides hands-on training to students
enrolled in the school’s mass com-
munication program.
The three Hitachi SK-HD1000
cameras, ordered through York
Telecom, are positioned on Vinten Lateef Gibson assists
pedestals and are outfitted with an NSU student
Hitachi accessories including 5” with one of the new
VF-HD500 B&W viewfinders, Hitachi cameras.
CU-HD1000 CCUs and RU-1200JY
remote control units. The adjacent control room “Our students have really embraced these new
features a Ross Synergy 2 M/E production switcher cameras for their projects,” says Lateef Gibson,
and a Harris Inscriber CG. video producer/director for NSU.

GenArts Releases Sapphire Edge

This new visual effects software enables videographers to
get film-quality video effects quickly and easily. Key inno-
vations include a portfolio of 350 pre-built looks, real-time
visual Looks Browser, and streamlined, easy-to-use con-
trols. Sapphire Edge initially supports Apple Final Cut Pro
v6/v7/X and Sony Vegas Pro 10. For more information, visit
www.dv.com/Aug2011.

Atlantis Launches
NASA/FLETCHER HILDRETH

with Panasonic 3D
Camcorder Aboard
On July 8, Panasonic’s AG-3DA1 HD 3D camcorder headed
to space.
For the flight of the shuttle Atlantis—its 33rd flight and
the 135th and final mission of the U.S. space shuttle pro-
gram—Panasonic provided NASA with AG-3DA1 3D cam-
corders, BT-3DL2550 25.5” 3D LCD monitors and ruggedized
Toughbook laptop computers. The Panasonic equipment
has already documented the training and preparation lead-
ing up to the launch and is expected to be used to document
the ISS and research missions taking place aboard.
“Human spaceflight is about the discovery of new things
and places,” says John Baisley, executive vice president of
Panasonic Solutions Company. “We look forward to sharing The launch of space
the compelling 3D footage from the Space Station with con- shuttle Atlantis at
NASA’s Kennedy Space
sumer and professional audiences worldwide to showcase Center on July 8, 2011
the truly immersive experience that 3D can deliver.”

dv.com
12 InxxxReview
gear | august 2011
Apple Final Cut Pro X
Is This App Ready for Primetime?
BY OLIVER PETERS
Apple Final Cut Pro had been rock-
ing along for 12 years, gaining pro-
fessional market share and becom-
ing a versatile platform for many
editors, facilities and developers.
But it became clear that a complete
rewrite was needed to modernize
the code and feature set. In June,
Apple rolled out Final Cut Pro X as
the successor to Final Cut Pro—not
as a suite of programs but as a sin-
gle application, along with Motion
5 and Compressor 4. At the same
time, Apple ended all previous Final
Cut Studio applications, Final Cut
Express and Final Cut Server.
BUILT FOR SPEED
Final Cut Pro X is a new 64-bit appli-
cation that runs on the latest version
of Mac OS X Snow Leopard or Lion
and the whole range of recent Apple
hardware. This optimization pays off
in better support for larger formats,
such as 4K-sized projects and native
editing with H.264 files. The “wow”
performance feature is Skimming,
which is a technique of scrubbing
media clips anywhere in the inter-
face simply by hovering over the clip
and moving the mouse.
Three big marquee features are
Synchronization, Audition and the
Precision Editor. Synchronization
allows you to auto-sync clips by
timecode, markers, in-points or
audio content. This last capability
should allow you to match double-
system sound from two sources to
each other (for instance, a camera
clip with camera audio to an exter-
nally recorded sound file). The result
is a new Compound Clip marked as
a Synchronized Clip, which contains
the camera and audio clips. The
camera audio can then be turned off
in the Viewer’s inspector tab.
An Audition clip is a single nest-
ed clip containing several different
FCP X interface
Precision Editor
selected shots, such as alternate
performance takes. This feature is
handy when working in client-super-
vised sessions, where you might like
to quickly preview alternate clips in
context without leaving the time-
line.
The Precision Editor is a tool
lifted from iMovie. Instead of the
usual trim tools for rolling edits, the
Precision Editor displays two adja-
cent clips on the timeline in an over/
under filmstrip format. You can see
the available media past the cut
for the outgoing and incoming clip.
For me, the standard ways of trim-
ming are better—and they’ve been
improved in FCP X over FCP 7—but
the Precision Editor does offer a
method that mimics a film-style way
of working.
FCP X is built with single-display
configurations in mind; however,
in a dual-display layout, either the
Event Library/Browser or the Viewer
can be moved to a second display.
Unfortunately, you can no longer
move floating, dockable windows
and reconfigure the entire layout.
The standard source/record win-
dow design has been replaced by
a single unified Viewer, which can
display the timeline as well as source
clips. In addition, all source clips can
be viewed as filmstrips that can be
directly scrubbed or skimmed for
edit selection.
The whole intent of this revamp
Apple Final Cut ProxxX
score
PROS: 64-bit processing. Format
support for up to 4K timelines.
Continual saving of project status.
Powerful metadata tools.
CONS: Majority of professional
features available in previous ver-
sions have not been included.
Cannot import projects or sequences
from previous FCP versions. Most
existing plug-ins are not compatible.
Previous software versions removed
from individual sale.
BOTTOM LINE: Apple has
completely rewritten FCP X as a new
application. There is no similarity
with previous versions and many
standard editing precepts have been
changed. The application is designed
for the intermediate-level editor look-
ing for an NLE more advanced than
iMovie but less complex than FCP 7.
Not suited for postproduction facili-
ties or professional editors.
MSRP: FCP X $299.99, Motion 5
$49.99, Compressor 4 $49.99
ONLINE: www.apple.com (FCP
X is available only as an online pur-
chase through the App Store.)
is to keep the creative juices flowing
without interruption. Performance
is largely real time and there are
many background processes, like
automatic analysis and rendering.
There’s no Save or Auto-Save func-
tion, because the application is con-
tinually updating its current status.
NEW CONCEPT: THE EVENTS
DATABASE
Media is now organized as Events
and stored on your designated hard
drive in a Final Cut Events folder.
An Event is a set of files that could
represent a tape, a camera card, a
day of shooting, etc. When media is
imported as a file or from tape into
an Event, you have the option to
create/transcode optimized or proxy
dv.com
14
gear | august 2011
In Review: Apple Final Cut Pro X

media. Or you can simply link to
media in another folder on your hard
drive.
In the first process, the new
media copies are stored in the cor-
responding Events folder. In the lat-
ter step, only an alias of that file is
stored. During either of these steps,
metadata is created that’s associ-
ated with the files in the Events
database. A number of items can
be analyzed, including stabilization/
rolling shutter issues, color balance,
audio problems and shot identifica-
tion. This analysis can be applied
during import or after, but it’s always
a background process.
The entire method of clip orga-
nization is designed around a rela-
tional database. Events can be orga-
nized through the use of Keyword
Collections and Smart Collections,
which replace traditional bins. Rather
than go through clips and manually
move them into different bins, FCP
X intends the editor to assign key-
words and let the system handle the
organization. This system will permit
one clip to appear in more than one
collection based on context.
are structured, where sound bites
are edited together to tell the story.
Then cutaway shots are built around
these to enhance the visuals or hide
edits made in the interviews. In FCP
X, the sound bites are assembled as
combined audio/video clips to the
Primary Storyline. Cutaway shots are
edited as Connected Clips, which are
attached to points on the Storyline.
If you need to build a series of cut-
away clips as a group, complete with
Color adjustment
transitions, then these can be con-
nected to each other as a secondary
Storyline, which in turn is connected
to the primary Storyline.
A key aspect of this new approach
is the Magnetic Timeline, which is a
way of keeping clips together as you
rearrange them on the timeline. By
using combined A/V clips, together
with connected clips, it’s possible to Color Board secondary
quickly change the order of a group
of associated clips (audio, video and
cutaways) simply by moving one of
them. The rest will follow and the
timeline opens or closes accordingly.
Or if you trim a clip in the primary
Storyline, the connected clips will
ripple their position as well.

MORE NEW CONCEPTS: EFFECTS AND COLOR

PROJECTS AND STORYLINES
Terminology can be confusing in
Final Cut Pro X. For example, time-
lines in FCP 7 were referred to as
Sequences, and a Project file con-
tained all the data, including mas-
ter clips (not media) and edited
sequences. In Final Cut Pro X, there
is no single file containing all the
data associated with a production.
Clip metadata has been broken
out as part of the Events database.
Projects contain the edit information
and location of render files, but there
is only one timeline per project. If
you typically create a lot of sequence
copies as various versions of a cut,
then that same task is achieved by
duplicating a Project.
Apple has dropped the video/
audio track metaphor in favor of
the concept of Storylines. It’s based
on the way most narrative pieces
FCP X effects are Motion projects
based on the new 64-bit FxPlug2
architecture. There are quite a few
presets, and the control parameters
have been restricted to make it eas-
ier for new users. If you really want
more effects horsepower, then you
will need to also purchase Motion
5. You can open a clip or an FCP X
effect in Motion 5, but there is no
Send To Motion function. Although
Motion 5 still works as an advanced,
standalone compositor, it didn’t real-
ly get a huge performance boost.
Noise Industries had early access
to the effects API and was able to
release a free update of FxFactory
compatible with FCP X and Motion 5,
as well as the other supported hosts.
Only the FxFactory Pro filters appear
as effects, transitions and genera-
tors inside Final Cut Pro X. If you
open Motion 5, you’ll see some of
FxF film effect previewed
the other partners’ effects, including
those from Idustrial Revolution, Luca
Visual FX or DVShade. These employ
custom interfaces in their filter pan-
els, which isn’t permitted in the new
FCP X design.
Final Cut Pro X’s color tools are
better than FCP 7, but the full power
of Apple Color didn’t make it into
the new design. Automatic balance
and Color Match work by changing
information in the color profile of
the image and offer quick color fixes.
The Color Board is the replacement
for the older three-way color correc-
tor; Apple used this new design to
conserve screen real estate. There
are three tabs for color (hue), satu-
ration and exposure. Each tab fea-
tures shadow, mid-range, highlight
and global controls. You can stack
a series of corrections to create sec-
ondary adjustments, like adding
vignettes or isolating a specific color
through HSL keying.
HOW TO GET IN
AND OUT OF FCP X
Apple designed this NLE from the
ground up for the file-based world,
so tape support is gone, with the
exception of legacy support for
FireWire-based cameras and decks.
The slack will be taken up by utilities
offered by AJA, Blackmagic Design,

dv.com
16
gear | august 2011
In Review
In Review: Apple Final Cut Pro X
Matrox, MOTU and Telestream.
Currently FCP X can be displayed
only to a broadcast video monitor as
a full-screen desktop image. Using
the ability of a card like AJA’s KONA
3G to mirror a Mac desktop display,
FCP X can be monitored as preview
quality only.
Final Cut Pro X and Compressor
4 retain only basic DVD and Blu-
ray capabilities. You can encode and
burn a disc from the FCP X Share
Menu or Compressor, but in either
case, these processes are intend-
ed only for simple discs without
advanced authoring features.
In this initial version, FCP X can-
not import or export any type of
sequence or project format, except
bringing in an iMovie project. Most
importantly, this means you can’t
import projects from previous ver-
sions of FCP. Apple says that the
data formats of FCP 7 and FCP X are
so different that a lot of the informa-
tion would be lost in the translation.
That’s of little consolation to FCP
editors who routinely have to revisit
past projects. Although a third-party
translation solution might arise in the
coming months, Apple has given no
clear indication whether they would
supply a built-in solution, or whether
they’d offer it as a free update.
Many professional editors have
to interchange files with other stu-
dios and facilities, such as send-
ing projects out for mixing. OMF
has been the standard interchange Automatic Duck Pro Export
file format for both Avid Pro Tools
and Apple Logic, as well as many WRAPPING IT UP If you can deal with the current
other DAWs. OMF export was Final Cut Pro X is a tool intended to “version 1.0” limitations and are
there in FCP 7 and gone in FCP be easier to use by people who aren’t dying to see whether Apple’s re-
X. Apple allowed Automatic Duck necessarily full-time editors—mean- imagining of nonlinear editing is a
into the process early enough to ing event videographers, video jour- better way for you to tell a story,
support FCP X with the simultane- nalists, producer/directors and corpo- then Final Cut Pro X might be right
ous release of Pro Export FCP 5.0 rate presentation professionals. The for you. But if you are a profession-
as a standalone application. Simply sweet spot today for Final Cut Pro X al user with established, advanced
launch Pro Export and drag the is a production that is file-based and workflows, it will likely be a frustrat-
project from inside FCP X to the can be started and finished entirely ing experience. FCP X is ready for
Automatic Duck window and it will within FCP X, without the need for primetime now, although primetime
generate either an AAF or OMF file. interchange with other applications. might not be ready for it! dv
INFINITELY  FLEXIBLE.

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to  commit  to  just  one.    
18
InxxxReview
gear | august 2011
Maximum Micro
This portable, battery-powered fixture
does double-duty as an on-camera flash.
BY JAY HOLBEN
LED fixtures have become EXCELLENCE
ubiquitous in today’s digi-
tal shooting world, and
leading the pack in the
manufacture of these
low-energy illuminators
AWARD
is Litepanels. I recently
had some time to play with the
company’s new MicroPro Hybrid
model, which is double the size of
the Litepanels Mini fixture, with
96 LEDs and a 5.5” x 3.75” x
1.5” frame size. The MicroPro
is heavier than the Mini at 1
lb. (including batteries and
mounting bracket).
The new fixture’s overall
construction is a little more
robust than the Mini’s,
but it’s still plastic to keep
cost and weight down. The
mounting bracket shows
a major improvement,
however. Now you get a
detachable milled alumi-
num ball joint with a 1/4”-20
threaded screw on one side and a
shoe mount on the other. This robust
and easily adjustable mounting
bracket is leaps and bounds beyond
the plastic shoe mount of the Mini.
The MicroPro Hybrid runs off of
6 AA batteries and has the smooth
dimming that you expect from
Litepanels fixtures. It demonstrates
great color rendition with almost no
green, spot on at 5,600°K. The fil-
ter system on the MicroPro is also
improved over the flip-face holder of
the Mini. Here, you simply have two
side brackets with a set of teeth and
notches in the filters that you bend
and snap into place. It’s simple and
much more effective at holding the
filters. The fixture comes with three
Litepanels
MicroPro Hybrid
score
PROS: Flexible, well constructed,
great color rendition, flash capability.
CONS: Hard to use with other dif-
fusion, slightly heavy.
plastic filters, a BOTTOM LINE: A great little
diffuser (looks on-camera fixture that works for
like about a Lee continuous light or as a flash.
250 white dif-
fusion to me),
MSRP: $525
ONLINE: www.litepanels.com
and one-quarter and
full CTO correction.
“Hybrid” here with the flash, but my testing found
refers to an additional func- about half a stop less than that in the
tion of the fixture: while it is 2x-3x range.
a standard constant-source Below is a chart of my photo-
metrics testing. “Full” represents
the light in constant mode at
100 percent (no dimming), while
“Flash” represents a 100 per-
cent flash triggered by a still
camera.
The fixture comes with a
great high-quality padded nylon
carrying case, which has a second
slot for the mounting bracket,
cable and filters, but I found that
I could also get my Litepanels Mini
into the same case and carry them
both!
I did not have a chance to test the
FULL FLASH battery life on the MicroPro Hybrid,
but the literature notes one and a
2’ 170 fc 210 fc half hours of continuous output on
3’ 64 fc 100 fc AA batteries, or five to six hours on
Energizer e2 Lithium cells.
4’ 32 fc 52 fc It’s a great on-camera fixture, but
5’ 20 fc 32 fc I’d really love to have a small soft box
for this fixture—that would make it
6’ 13 fc 24 fc a lot more appealing to me on faces.
7’ 9.2 fc 16 fc There’s no convenient place to clip
other diffusion onto the fixture, so
8’ 6.5 fc 13 fc you’re stuck with taping other flavors
9’ 5.3 fc 9.8 fc on if the 250 doesn’t meet your needs.
The MicroPro Hybrid is a great
10’ 4.3 fc 8 fc improvement over the Mini, which is
still a great little fixture. I’ve already
LED, it may also function as an on- this MicroPro on your SLR camera decided that this unit will become a
camera flash. With a standard flash to use as a large on-board flash. The permanent part of my kit for every
sync cable (supplied) connected to MicroPro Hybrid is reported to have shoot—having the ability to add a
the back of the fixture, you can put a 4x momentary brightness factor little eyelight is invaluable. dv
dv.com

Blue Valentine
This system offers “perfect balance” and an
all-important illuminated bubble level.
BY CHUCK GLOMAN
Tripods really have not evolved
that much over the last ten years—
they still have three legs, stabilize
a camera, and allow steady pans
and tilts. But the status quo may be
changing thanks to Vinten’s Vision
blue, which delivers a feature I
have been requesting on a tripod
for the last 20 years: an illuminated
bubble level.
My review tripod offered Pozi-
Loc type 3776 two-stage car-
bon fiber legs, which extend to a
height of 61.5”. The legs provided
Vinten Vision 19
blue Tripod
score
august 2011 | gear
PROS: Lightweight, affordable,
features innovative illuminated
bubble level.
CONS: Spreader is difficult to
for review opened and The Vision blue pan adjust.
closed smoothly and EXCELLENCE and tilt head is the tri- BOTTOM LINE: An amazing
were more comfortable pod’s best characteristic. tripod and head for the money.
to handle in extreme The model V4092 head
weather than aluminum supports cameras up to
MSRP: $1,140
ONLINE: www.vinten.com
versions that have been
provided in the past
AWARD 11 lb., yet it weighs only
5 lb. The Vision blue head
The spreader is a mounts to the legs with tiny blue button, the bubble level to
nice luxury that I decided to keep a standard 1/4-inch screw. Moving the immediate left is illuminated by
attached to the tripod all the time attention up from the mounting a fluorescent blue LED, making the
because it takes real strength to ball, users will find that the pan bubble easy to see in daylight, dark-
pull the rubber strap over each leg. drag adjusting knob moves from 1 ness or with bifocal-adjusted vision.
However, once the spreader was to 8, increasing in intensity. Affordably priced at $1,140,
attached to the legs, they never Directly above the knob is the tri- users can get an amazing tripod
slipped. pod’s best innovation. By pressing a and head for the money. dv
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22 InxxxReview ikan VL7
HDMI LCD Monitorxx

score
gear | august 2011

Camera-Ready
A cost-effective and compact solution for monitoring video.
PROS: Affordable, accurate
BY CARL MROZEK focusing and framing, particularly at
Nothing beats a com- low angles.
pact high-resolution
CONS: Limitations with sharp-
field monitor for improv-
ness, resolution, color adjustment.
ing focus, color balance
and framing. This is BOTTOM LINE: What this
particularly true when economical monitor/viewfinder lacks
shooting HD in low-light in durability, sharpness and snob
conditions, which makes accurate appeal, it makes up for in conve-
focusing a challenge, whether nience and versatility.
you’re using a conventional cam- MSRP: $299
corder or a DSLR. Experience has ONLINE: www.ikancorp.com
shown that an HDMI port is essen-
tial in obtaining the sharpest image
possible. Thanks partly to the pop- shifted whenever I selected a differ-
ularity of DSLRs for pro video work, ent preset white balance setting in
there’s a growing number of moni- the 7D’s menu. I found myself using
via a 3” post with a swiveling ball-
tors for such applications, but few are so that the VL7 would align the 7D’s LCD screen for reference
priced at less than $500. One of thoseand-socket head. This all snugs into directly above the camera lens and when changing the white balance
a standard camera shoe with a lock-
that does fall into this price range is the 7D’s LCD screen. I prefer this con- settings in its menu.
ikan’s new VL7, which the company ing washer. The mount’s swivel head figuration because it allows me to Toggling between the two
describes as an “entry level” high- can be locked securely at various track moving targets more easily. I screens simply entailed switching
quality HD monitor. angles with a large, eas- opted to use an HDMI feed. When from HDMI to one of the AV input
EXCELLENCE ily grasped thumbscrew. I first powered up the camera and settings on the VL7. Switching from
FEATURES The kit also includes monitor, I got a blue screen with 16:9 aspect ratio to 4:3 can also be
The VL7 is compact, with ikan’s universal BP2T “AV1” displayed in the upper right done at the push of a button on the
dimensions of 7.5” x 5.25” battery plate, charger, corner. I used the input switch on VL7 control panel—in this case, via
x 1.03”. It tips the scales at AC adapter, shoe mount, the monitor’s control panel to select the “F” (function) switch on the right
barely 1 lb. (without bat- AWARD analog video/audio cables HDMI and got a live image of the side of the control panel between
tery) and sports an HDMI and a durable hard foam- room via the 7D and its ultra-wide the power and input switches.
port and two compos- lined aluminum case. (An 10-24mm lens. AV1 seems to be the The other two function options
ite inputs (both mini plug, but RCA HDMI cable is not part of the kit.) monitor’s default setting. are underscan and peaking. These
adapter cables are included). This My first observation was that days I have little call for 4:3 displays or
flat-screen LCD monitor has a reso- IN USE the letterboxed 16:9 image filled for underscan, so I used the function
lution of 800x480, and features a The VL7 comes with everything you less than half of the screen area, control mainly to toggle between
peaking function for more accurate need for use with a DSLR except the while the 4:3 default image area normal and peaked displays. Video
focusing, even in daylight. It also aforementioned HDMI cable. You’ll barely exceeded half the screen. peaking is very helpful for accurate
switches quickly between 16:9 and need your own, preferably one that’s Nevertheless, image quality was focusing in both bright and low-light
4:3 aspect ratios. three feet or less, as the distance quite good, although the color situations. I find the contrasty black
Current draw is minimal, and the between the camera’s HDMI port and seemed a bit skewed at first glance. and white look of the peaking dis-
monitor can be powered by any of the monitor will be less than this, Unfortunately, I found no standard play distracting, however, so I use it
several 7.2V prosumer camcorder bat- even with the VL7 mounted atop a colorimetry options, such as hue or only to check focus.
teries from Sony, Canon, Panasonic or handle on your DSLR rig. However, tone, in the menu. I was able to Adjusting display quality by
JVC via ikan’s BP2T DV universal bat- if you have your DSLR’s RCA adapter achieve fairly realistic image color tweaking contrast, brightness or
tery plate (included with the monitor cable, you can monitor via one of the by dialing down the saturation level saturation was easy and fast via the
package). The use of camcorder-sized two ports by using the pair of adapter from a default level of 50 to 35. I also menu button and the “plus/minus”
batteries helps keep things light and cables provided with the VL7. reduced contrast and brightness and switches. All of the adjustments can
easy to mount on a DSLR camera, I started out by mounting the 3” up-resed the sharpness to achieve be viewed on the screen and take
even without a DSLR rig. post and ball-and-socket head onto a fairly realistic live view–in indirect place in real time.
Monitor mounting is achieved my Canon EOS 7D’s accessory shoe sunlight. But I noticed that the color In practice, colorimetry, contrast,

dv.com
 23

august 2011 | gear

brightness and other attributes of VL7 is perfectly adequate for use as a that the VL7 allowed me to fully ikan’s VL7 monitor makes a
the displayed image on the VL7 are viewfinder and confidence monitor, tap the potential of the ultra-wide cost-effective and convenient HD
of secondary importance to DSLR but it should not be considered as a 10-24mm lens I used. It provided viewfinder for use with DSLRs or
users. (This is assuming that you primary HD display. me with a tool for achieving perfect HDMI-equipped camcorders. While
have correctly white balanced the Also, its lightweight construction focus, as well as perfect framing at there are better monitors around,
camera, of course.) The monitor’s could make it vulnerable to break- camera angles that would otherwise few if any provide as much bang for
prime value is in accurate focus- age in the rough-and-tumble of pro- make such framing impossible with- the buck. The monitor package is
ing and framing, particularly at low fessional use. out extreme difficulty and a great truly a bargain at its less-than-$300
angles–and especially when using The bottom line, however, is expenditure of time. price. dv
an ultra-wide zoom lens for track-
ing shots or in a rapid-fire situa-
tion demanding both fast focus and
accurate framing. What this eco-
nomical monitor/viewfinder lacks
in durability, sharpness and snob
appeal, it makes up for in conve-
nience and versatility.
By using the VL7 as a large adjust-
able viewfinder, I was able to cap-
ture an “Alice in Wonderland” per-
spective both indoors and outside,
including many shots at point-blank
range and in low-light conditions. By
tilting the VL7 forward on the ball
and socket, I got phenomenal wide-
angle tracking shots that compare
favorably with the “flyover” shots
from a Steadicam rig.
Moreover, the ergonomics of
being able to look down at the cam-
era at a 90-degree angle relative to
the lens makes it feasible to tilt the
lens upward at unusual low angles,
providing an arresting dog’s-eye
view or even parrot’s-eye view (pick
your critter) of the world. The moni-
tor and its mounting allow you to
frame the world through an assort-
ment of different perspectives, while
keeping things in focus all the while.

SUMMARY
Naturally, this less-than-$300 moni-
tor has its limitations—notably sharp-
ness (resolution is only 800x480). But
it is sharp enough to improve your
focusing accuracy, whether you’re
shooting on a tripod, a handheld rig
or some other platform. The moni-
tor’s limited color adjustment also
limits its utility in gauging the true
image color being captured, but it
can certainly verify whether color
balance is correct or not.
With regard to image quality, the

dv.com
24
THE TRAVEL CHANNEL ON LOCATION
feature |august 2011

BY JON SILBERG

No Reservations
with Sony’s F3
When Panavision New York hooked up videographer Zach
Zamboni and the crew of the Travel Channel’s No Reservations
with a set of Panavised Sony PMW-F3 cameras, it represented a
lot more than just a change of camera packages. “The technol-
ogy is finally where we’ve always wanted it to be,” Zamboni says.
“We’ve always wanted to do this show completely in Super 35
format. We used Letus adapters early on to get that look. We’ve
used Canon DSLRs for the past couple of years for certain shots,
Videographer but those [cameras] really aren’t made for this kind of work.
Zach Zamboni

dv.com

"The F3 offers us a less compressed,
more robust format in a design that
was meant for video. We’ve never
had anything like the combination
of these F3 cameras and the fast,
lightweight Panavision zooms we’re
using now,” says Zamboni.
Zamboni and crew used F3s and
Sony PMW-EX3s for the last two
episodes of Anthony Bourdain’s No
Reservations, then moved on imme-
diately to shoot the first episodes
of Bourdain’s new series—also from
Zero Point Zero Productions for the
Travel Channel—called Layover, in
which the chef/author takes the kind
of abbreviated tour of various loca-
tions that someone might be able to
accomplish on a flight layover. (This
new series will be shot exclusively on
the new F3s.)
The videographer explains that
the F3’s chip sensitivity in con-
junction with the fast, lightweight
Panavision zooms allows them a
new level of freedom. “We love the
cinematic depth of field,” he says,
“but the most important factor
about this chip, as far as I’m con-
cerned, is its enormous sensitivity.
That is revolutionizing the way we
shoot this show. It’s very clean at
+16 or even +32 dB. At +32 it looks
roughly what +6 might with an EX3.
That means we can go into plac-
es that are really dark—so dark I’d
swear you could never shoot there—
and get a very nice image.”
This flexibility allows Zamboni
to work the way Bourdain has
always wanted the show to work:
with essentially no lighting at all.
Zamboni describes the start of an
average workday following the host
around for either of the two shows.
“We come out of wherever we’re
dv.com
25
august 2011 | feature
staying and get into a
cab. We get out of the
cab and go into a res-
taurant or charge back-
ward through a market.
We get onto a subway.
We come out of the sta-
tion and walk into a bar
that might be extremely
dark. And we’re shoot-
ing the whole time. You never know protect highlight and shadow infor- than just a minor upgrade. “This is
when Anthony will say or do some- mation,” Zamboni explains, “and a very important moment for peo-
thing that will work perfectly for the then the wonderful colorist at Zero ple who do what we do,” Zamboni
show. Point Zero has a some flexibility to says. “You can now finally do a run-
“Anthony hates waiting for us,” work with.” ning-gunning, vérité-style TV show
Zamboni continues. “He’s a real- For the videographer, these completely in Super 35 format. And
time kind of guy and he makes fun Panavised F3 packages offer more that’s revolutionary!” dv
of us for lighting. He hates lighting.
Until we got these cameras, I would
sometimes have to hide a light—
maybe a Litepanels fixture with
some muslin—somewhere inside a
bar before we went in. Or I’d hide
a very small unit inside a cab just to
get some kind of exposure. I don’t
have to do that now—and for him,
this is terrific.”
Zamboni built custom shoulder-
mount F3 rigs with TVLogic moni-
tors that, he says, offer a picture
with rich enough contrast and suffi-
cient brightness to determine focus
in just about any shooting condition.
“The monitor is so lightweight that
you can hang it far out in front of
the camera, and that’s really the key
to the ergonomics. You want the
monitor out in front of the camera
and the camera as far back on the
shoulder as possible.”
While the F3 can record in the
S-Log format to on-board recorders,
these shows need to be as stream-
lined as possible, so HD is recorded
to SxS cards in the XDCAM EX for-
mat. “We shoot on the safe side to
26
Instant Expert compiled by Ned Soltz

All Aboard:On-Board Recording Devices to Make Your Media Manageable

gear | august 2011

ITEM/
CONTACT COMPANY MSRP WHAT'S NEW & OTHER COMMENTS

Hyperdeck Blackmagic
$345 SDI/HDMI in/out. Uncompressed 10-bit 4:2:2 recording to SSD drive, not included. USB port for computer
Shuttle Design
control and future firmware updates. On-board rechargeable battery or external 12V power. Does not sup-
port 720p.
www.blackmagic-design.com

Convergent SDI/HDMI in/out. Records 8-bit MPEG-2 Long GOP or I-frame at data rates up to 280 Mb/s to two CF cards
nanoFlash $2,995
Design in either .mov or .mxf formats. Automatic card spanning. Supports all frame rates supported by MPEG-2
codec. Over/under-cranking and time lapse supported. Requires external power. Optional stereo adapter to
bridge two nanoFlash units for 3D recording.
www.convergent-design.com

Convergent
Gemini 4:4:4 $5,995 Records uncompressed 4:2:2 via SDI and 4:4:4 via 3G or Dual Link SDI to up to two SSD drives. Supported
Design
formats at 4:4:4 are 1080 23.98/24/60 and 2K. Support for S-Log and Log-C with user-definable LUTs.
Integrated 800x480 screen. Stereo option. Includes docking station but no media.
www.convergent-design.com

Ki Pro AJA Video $3,995 A unit that functions both on-camera with a variety of mounting options and in the studio or production
truck. The first device to record ProRes to sealed drive cartridge. Also can up/down/cross-convert. Ki Pro has
become a fixture in many shooting environments, particularly mobile applications.
www.aja.com

Ki Pro Mini AJA Video $1,995

Records ProRes in flavors from LT to HQ to two CF cards. With optional ($75) mounting brackets, can mount
to virtually any support. No integrated monitor. Recordings do not span cards. Records in .mov format.
www.aja.com

Extreme Cinedeck $8,495

Records all flavors of ProRes (including 4:4:4:4), DNxHD, CineForm, uncompressed 4:2:2 and 4:4:4. Stereo
option to ship later in 2011 for $995. Superb touchscreen monitor. Records to SSD, not included.
www.cinedeck.com

SFVe Cinemartin About $4,000 Available August 2011. Open codec recorder with initial capabilities of CineForm and uncompressed. This
version supports 4:2:2. A 4:4:4 version will follow. Integrated LCD display. Includes one SSD card and empty
slot for either a 2.5” HDD or another SSD. The two SSDs can be set up as RAID.
www.cinemartin.com

$995 Ninja/$1,495
Ninja / Samurai Atomos Ninja is HDMI only; Samurai is SDI. Records ProRes 422 and ProRes 422HQ to either 2.5” HDD or SSD (no
Samurai
media included). Integrated LCD display. Does not record 720/24p. Other 23.98 footage requires separate
free application to remove pull-down. Integrated rechargeable batteries.
www.atomos.com

Pix 220 / 240 Sound Devices $1,495/$2,695 Pix 220 is HDMI only; Pix 240 is both HDMI and SDI. Our editors’ favorite in the market space at NAB 2011.
Combines ProRes recording with optional ($100) DNxHD format. Sharp LCD display. XLR audio inputs that
can be added to embedded audio coming from camera. Unit can up/down/cross-convert. Records to CF or
SSD and has optional two-drive caddy. Media not included.
www.sounddevices.com

Fast Forward
sideKickHD $2,495
Video Includes 256 GB SSD. Records to ProRes 422 and 422HQ in all available ProRes frame rates. Integrated 4.3”
LCD screen. Additional codec support promised.
www.ffv.com

You'll find direct links to all these products at www.dv.com/Aug2011

dv.com
28 DV 101 by Jay Holben
basics | august 2011

What Makes A Good Lens, Part II

Considering lens style and focus style.
Last month I talked about the different
aspects of lenses—build quality, mechan-
ical quality, chromatic aberration, dis-
tortion, breathing, falloff, speed, res-
olution, contrast, color and bokeh–
in an effort to answer one question:
What makes a lens bad or good?
Don’t fret so There’s yet a couple of factors to
talk about, one of which is the style
much about of lens, be that still, ENG or cine,
Canon FK14.5-60 wide-
angle cine zoom lens
what is good three of the most popular styles.
Still lenses are designed to be If you have two lenses
or bad-just compact. They’re designed to focus with comparable specs
what is right the image quickly and momentarily.
Most modern DSLR lenses are auto-focus
(speed/focal range/inter-
nal or external focus/
for you, your and work with sophisticated mechanics zoom), then the more expen-
to keep the focus fast, smooth and quiet. sive lens will generally be the better choice; however,
projects and They are designed to be focused while the there are some excellent, relatively inexpensive lenses manufactured by
your budget. user looks through the lens at the camera’s Tamron and Sigma for DSLRs that are of matched quality and dependabil-
ground glass. ity to the high-cost “brand name” lenses. On the cine-style side of things,
ENG-style lenses are made for one-man- Schneider and Zeiss are both making extremely high quality, excellent per-
band shooting; they are compact zoom lenses with handgrip and zoom forming DSLR-mount cine-style prime lenses that are inexpensive compared
rocker built right into them. They are designed for on-the-shoulder shooting to the “big boys.”
and to compose and focus an image quickly by looking through the lens at Instead of trying to tell a good lens from a bad one, just look for the high-
the camera’s viewfinder. est-quality lenses at the price you can afford. If you’re shooting cine-style,
Cine-style lenses aren’t as compact. They’re a little larger, with expanded it’s a great idea to have cine-style lenses. The expanded focus scale makes a
focus scales that allow for smooth tracking of focus on a subject in continuous major difference in production.
motion. These lenses are designed so that a camera assistant can adjust the Get the lens with the fastest aperture you can afford. If you’re looking at
focus, independent of the operator, while looking at the barrel of the lens and at zoom lenses, try to find a constant aperture lens. Many inexpensive zooms
the subject being focused. They integrate easily with other cine-style equipment. have variable apertures that might be presented like f/3.5-5.6. This means
Another consideration is the focus style of the lens: external or internal that as you zoom in on the lens to the further, more telephoto, end, your
focus. An external focus lens will actually change size; the elements protrude relative maximum aperture shrinks in size. (The aperture doesn’t actually
as you change focus. This can cause major issues with filters in a mattebox, or change, but light loss from inexpensive optics effectively reduces the iris.) At
even if you have a screw-on polarizer, as the barrel of the lens can also rotate its widest point, that lens is an f/3.5, but at the longest point, the maximum
during focus, changing the filter’s polarity. An internal focus lens, generally aperture is, effectively, an f/5.6. That is an inferior lens compared to a zoom
more expensive, keeps all of the moving elements inside, within the confines with a constant aperture, and it can be a liability when you’re shooting.
of the lens. This also goes for zoom lenses—some inexpensive zooms will
actually expand in size as you zoom to the telephoto end of the lens. These TESTING
are important considerations depending on your shooting style. In a perfect world, you get to test the lenses before you buy them. Visit a
The real difficulty in determining whether a lens is good or bad arises camera shop and get the lens in your hands for a few minutes. Talk with
from the actual application of that lens. For a cinematographer working trusted professionals about their lens choices—and ask them why they like
on traditional Hollywood-style single-camera scripted narrative projects, particular lenses. What one professional might consider a “bad” lens, another
ENG-style or still-style lenses are not good. They don’t integrate easily into might use as his primary tool. No lens is perfect. No lens will be best for every
the typical production workflow. That’s not to say that those lenses are job. Every lens has some quality that is beneficial.
bad—they’re just not right for the application. On the flip side, a cine-style Test as often as you can. Side-by-side tests can tell you a lot about differ-
lens would be a nightmare for a videographer out in the field shooting docu- ent lenses and qualities. Don’t fret so much about what is good or bad—just
mentary or news footage. what is right for you, your projects and your budget.
Further complicating the field, price isn’t always a good determination. Many people are intimidated by lens testing: What do I do? What do I look

dv.com
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Prices, specifications, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers’ rebate forms. Not responsible for typographical or illustrative errors. © 2000-2011 B & H Foto & Electronics Corp.
 XF100 / XF105 HXR-NX5U
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32 DV 101
basics | august 2011

for? Some simple lens tests can give you a lot of information. These tests
are best done comparing two lenses—if not more—side by side. The first
thing to test is color. To do this, it’s best to use natural daylight and shoot
in open shade. Use a calibrated gray card and set the camera to its default
daylight setting. Shoot the gray card full frame with each lens. It’s best to
compare results in a Photoshop-like program that displays RGB informa-
tion from the images, but you can readily see the differences side by side
without technical analysis.
Secondly, test the sharpness, resolution and falloff with a very simple
test. I like to go out and pick up four copies of an inexpensive magazine.
Using a piece of white posterboard, I pick a good, sharp full-page ad from
the magazine and paste the identical ad into each of the four corners of
the board. Then I place a second ad in the center of the sides, top and bot-
tom, and fill in the center with the most detailed pictures I can find. Shoot
the posterboard with each lens, preferably at the same f-stop, making
sure you fill the frame side to side and top to bottom. When you analyze
the image, you’ll see the sharpness, contrast, vignetting (if any), falloff
and distortion. Fujifilm ZS17x5.5 ENG-style lens
Finally, take the lenses outside and shoot some trees and grass and
detailed textures (wooden fences, stucco houses, pavement, etc.). Match Comparing the results from these three simple tests will tell you a lot about
your focal lengths and shoot in bright sunlight, shade and backlight (which will your lenses. You don’t need the technical resolution charts, you don’t necessar-
help reveal lens flare properties). As much as you can, match the f-stop and ily need to know the exact line-pairs per millimeter that your lens can produce.
image size in the frame. (You will have to move the camera if you’re shooting Use your eye. Compare the results side by side and you’ll be surprised how
with different focal lengths.) quickly you’ll see differences between lenses and how much you’ll learn. dv
 xxx 33
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>Advertiser Index >Company Index
COMPANY PAGE WEB SITE Adobe...3, 8; AJA Video...14, 26; Apple...3, 8, 11, 12, 16; Atomos...26;
Abe's of Maine 19 abesofmaine.com
Automatic Duck...16; Avid...3, 16; Blackmagic Design...14, 26; Canon
Adorama 13 www.adorama.com
AJA 5 aja.com U.S.A....10, 22, 24; Cinedeck...26; Cinemartin...26; Convergent
Azden 11 azdencorp.com Design...26; DVShade...14; East Pleasant Pictures...10; Fast Forward
B&H Photo-Video-Pro Audio 30, 31 bhphotovideo.com
Video...26; Fujifilm...32; GenArts Software...11; GoPro...34; Harris...11;
Blackmagic Design 7 blackmagic-design.com
International Supplies 19 www.internationalsupplies.com Hitachi...11; Idustrial Revolution...14; ikan Corp....22; Ikegami...34;
LCD4 Video 35 lcd4video.com K-Tek...10; Letus...24; Litepanels...18, 25; Luca Visual FX...14;
Libec 23 www.libecsales.com
Matrox...16; MOTU...16; Nikon...10; Noise Industries...14; OConnor...6;
Litepanels Inc. 16 litepanels.com
Matthews Studio Equipment 25 msegrip.com Panasonic...3, 11; Panavision...24; RED Digital Cinema...3; Red Giant
Neil Enterprises 2 www.neilenterprises.com Software...8; Ross...11; Sachtler...6; Schneider Optics...28; Sigma...28;
Petrol Bags 10 www.petrolbags.com
Sony Creative Software...11; Sony Electronics...3, 6, 24; Sound
Production Hub 32 www.productionhub.com
Redrock Micro 17 www.redrockmicro.com Devices...26; Tamron...28; Telestream...16; TVLogic...25; Vinten...11,
Shutterstock 36 footage.shutterstock.com
19; Weynand Training...3; York Telecom...11; Zeiss...28; Zero Point
Varizoom 27 varizoom.com
Videoguys 9 videoguys.com Zero Productions...25
34 Production Diary by Stefan Sargent
experience | august 2011

J’ACCUSE
HERB KANZELL
He Got Me Into This Mess
A few weeks ago I bought a new HD cam-
era, a GoPro HERO. The camera’s cost? A
snip at $240 from my local REI outdoors
This is video shop (they were running a special). A day
after buying it, I shot a TV commercial.
editing? I didn’t mean to use the GoPro—I had
another camera with me—but the GoPro
Lemme seemed just right. The end result is a
outa here. huge success, now running three times a
day on the Bay Area’s KTVU 2.
While I’m shooting, I’m remembering
my first video camera purchase way back in 1979. An Ikegami
HL-79A. The cost was $45,000. Composite, standard def. $45K machine room with 2” VTRs.
versus today’s $240 for digital HD. Unbelievable! “Barry, on the count of 10. 10-9-8-7-6-5-4-3-2-1
So what’s a card-carrying 16mm film cameraman doing buying CUT. Got it?” “Nope, they didn’t lock up.” So this is
a $45K video camera? I blame Herb Kanzell. video editing. Lemme outa here.

LONDON 1975 E&S

A phone call from Herb: “Stefan, I’ve got a little job for you—a new
client, Redifon. They make flight simulators to train pilots.” No need to pitch,
I have the job.
I shoot the simulator and landscape model on 16mm film.
The model is on a huge board—the runway, airport buildings and miles of
miniature surrounding landscape. If it were lying flat, you could put a model
railway on it. As the pilot flies the plane, he sees the model from a periscope
lens on a video camera.
The camera’s output is projected onto a screen in front of the cockpit
windows. It works well for the pilots, but film it and the view looks dark and
blurry.
I come up with the crazy concept of chromakeying in the projected scene.
“I’ll paint the windows blue.” Horror. You’ve got to remember, this is 1975,
over 35 years ago.
“Chromakey, what’s chromakey?”
WAS FILMȅNOW VIDEO
I find a television facilities company, Trilion. They have an outside broadcast
truck used for concerts and sporting events (and later that same year to
shoot “Bohemian Rhapsody” for Queen).
Redifon isn’t happy about my painting their simulator windows blue (I
wonder why), so Tricia cuts up blue cardboard to fit.
We do take-offs and landings and an AWACs in-flight refueling sequence.
The pilot has to fly under a refueling plane and maneuver the boom into the
nose of his aircraft; the plane and boom are articulated models. “25 feet,
stable, forward 10, slow down, forward 5, go down, stay right there, contact!”
Shoot over, I go to Trilion’s London offices to edit out the best takes and
have them transferred to 16mm film. It’s a nightmare. We are in a noisy
Redifon has bought into a Utah computer graph-
ics company, Evans & Sutherland. I’m sent to Salt Lake City to shoot their
NOVOVIEW CGI visual system. No model board, no flying camera—all in a
computer memory.
After the shoot in SLC, I fly to Burbank, Calif., and visit Compact Video.
Their clients are in a redwood-paneled edit suite with a sliding door to the
machine room. Big sofas, coffee table and huge chairs for the editor and
director. Their editing is CMX computer-controlled; their coffee is Kopi
Luwak.
BACK IN LONDON
There’s still no computer editing here, just technicians in a noisy machine
room calling out numbers. The coffee is instant in plastic cups.
In September 1976, I take a deep breath and buy three Ampex 1”
machines for Molinare, my audio studio. Our video showreel is a rip-off of
Compact Video’s.
Molinare grows and grows. We soon have two video studios, four CMX
340 edit suites, an OB truck and, yes, an Ikegami HL-79A. Sadly, we also have
three investment bankers and four non-executive directors. The day I buy a
$250,000 Ampex ADO is the day they throw me out.
1984
I’m out. No more 100+ employees, no more bankers and non-exec directors.
I still have my own 16mm Éclair film camera. The phone rings. Guess what,
it’s Herb.
“Good to have you back, I’ve got a little job for you. You should never have
stopped making films—that’s what you’re good at—you’re no businessman.”
Nice one, Herb. dv

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