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Sony FS-100 Super 35mm NXCAM Camcorder Announced.

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Sony FS100 fitted with PL mount lens.

Well the rumours have been circulating for some time and prototypes have been seen at various trade shows, but the full details have been sparse to say the least. Well here it is, it’s called the FS-100 and it’s a quite radical design from the Sony Shinegawa factory. The Super 35mm NXCAM shares the same sensor as the new PMW-F3, so the images will be excellent, but the design of the camera body itself could not be more different. If you don’t like it…  well you can blame me and several other DoP’s that were invited to attend brainstorming sessions with the Sony engineers. In the photo below you can see the white board from one of those sessions and you can see where we (me and the other DoP’s) discussed ideas like a modular design with removable handles and how we hold handycam cameras.

The end result is this rather quirky but in my opinion, really quite clever and versatile design. The top viewfinder allows you to use the camera cradled in your hands in front of you, either using just the LCD panel or the monocular viewfinder. When your doing interviews you can twist it so that it is visible from either side of the camera, excellent for those interviews where you are both camera operator and interviewer. It allows you to alternate the sight lines from left to right of the camera for more varied interviews. It’s also useful for shooting in cramped locations such as in the front of a car as you can hold the camera sideways in front of you to shoot… I mean film…. the driver and still see what your getting.

Top view of FS100 body

Unlike most traditional camcorders the camera can be stripped down to just the sensor/recorder body. You can remove the top handle, mic holder and hand grip. In addition it has a multitude of tripod mounting holes on the top, bottom and even one side. On the base of the camera there are 6x 1/4″ threaded holes and wait for it… 2x 3/8″ holes. Hooray!! On the top there are a further 3x 1/4″ holes and there is even one on the side, revealed when you detach the removable hand grip. This is going to be fantastic for use on cars as a 35mm minicam or crash-cam. It will make getting all those different car chase angles so easy as a few small suction mounts will allow you to mount the stripped down camera just about anywhere. I can see the FS-100 becoming a “must-have” B camera to compliment my F3. The 1/4″ thread on the side of the camera means you can mount it on it’s side for portrait style shooting for digital signage or to get the maximum resolution when shooting people for chroma key.

While the camera does come with a detachable handgrip, there is no zoom rocker like the F3. That’s because the camera is primarily aimed at those using DSLR lenses which don’t have servo zooms, although PL mount adapters are available. The front end of the camera has Sony’s E mount for interchangeable lenses. It will come with the rather nice (if a little slow) 18-200mm f3.5-f6.3 optically stabilised zoom lens and the auto focus and auto iris do work! As well as Sony’s own G series lenses for the NEX cameras you can get adapters for Sony A mount and most other lenses. Do consider that if you are planning on using heavy PL lenses that the E mount is not designed for such high loads, so an additional lens support system should be used.

Rear view Fs100

On the input and output front the FS-100 has most of the connectors you would expect to find on an NXCAM camcorder, with one notable exception… HDSDi. There is no HDSDi, but don’t panic! The camera does have HDMI and the quality available from HDMI is every bit as good as HDSDi. No word as to whether it’s 8 bit or 10 bit though. Sony are well aware that the one thing missing from HDMI is normally timecode, but even that has been addressed and it will be possible to export timecode in the HDMI stream, although at the moment we need to wait for the HDMI recorders to update them to accept timecode via HDMI. There are 2 XLR connectors for audio in. One on the right side and one on the rear, there is also the usual mini-D component out and RCA/Phono audio and composite video outputs.

Sony FS100 35mm NXCAM

When you start to delve into the cameras frame rates and recording modes things get really interesting as the FS100 will record full 1920×1080 at 60P and 50P. Even the F3 can’t do this internally (you can output 50/60P to an external recorder). As well as all the usual frame rates like 23.98, 60/50i, 30/25P you can also shoot full resolution slo-mo at up to 60fps using S&Q motion. It’s not quite as flexible as the F3 as you will find that you only have a choice of frame rates (for example 1,2,3,6,12,25,50fps) and won’t have the ability to dial in any frame rate you want, but all frame rates will be full 1920×1080. As with the other NXCAM camcorders all these lovely modes will be recorded on to SD cards or Memory Sticks using the AVC HD codec (mpeg 4), in addition you can add the Sony FMU128 (128Gb Flash Memory Unit) for dual recording giving peace of mind with one off events.

Once your footage is on your cards the cleverness of this camera continues as you don’t need a laptop to backup your data. Simply plug in a USB drive or even a Blu-ray burner), direct to the cameras USB port and you can backup direct from the camera to the drive. Your footage will contain GPS data about when and where you shot it, which for me will be a great bonus with my severe weather footage as I can never remember exactly where I was during a storm chase!

All in all this is looking like one hell of a camcorder. The street price is estimated to be below $6000 USD, so you do have to ask the question.. why buy an F3 when this is half the price? In my view they are two quite different cameras for different applications. The F3 has the ability to output full 10 bit 4:4:4 for extremely high quality recording possibilities. It also has built in ND filters and will have S-Log and 3D dual camera control. For multi-camera shoots the F3 has Genlock and timecode in/out. There will also be some nice servo zooms for the F3 some time later this year or early next year. The F3 is a camera that would not at all be out of place as a B camera on a big budget production. The FS-100 will I’m sure also find a place on big budget productions, perhaps as a crash-cam or mini cam. But overall I think it will be most at home on more run and gun style shoots where auto iris and maybe even autofocus are beneficial. I really do think that the FS100 will replace many of the DSLR’s out there currently being used for video as a lot of thought has gone in to the ergonomics.

These are very interesting times. It’s now possible to shoot a movie, with quality good enough for mainstream theatrical release on cameras costing little more than a high end home video camcorder of just a few years ago. I doubt most cinema goers would realise that a camera like the F3 or FS100 was used, especially if it’s recorded to a NanoFlash, KiPro or even the new Convergent Design Gemini. However we must not forget that content is king, not the technology that makes it possible.

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PMW-F3 and Stills Glass, some observations.

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I have been using my F3 with a range of stills lenses via the MTF F3 to Nikon adapter. Overall everything works very well and I am pleased with the quality of the images I have been getting. However the use of stills glass is not as easy as using dedicated PL lenses. The main issue for me is iris control. With a PL mount lens you have a nice big iris ring so you know exactly where your exposure is. With some of my stills lenses I do have a traditional iris ring and with these lenses all is good. But as so many DSLR’s these days have electronic iris control many of the lenses I have don’t have an iris control ring. Mike Tapa’s adapter can control the iris of a Nikon DSLR lens by moving the blade that controls the shutter on the rear of the lens, but there are no markings or any way way of knowing what the iris is set to. This makes judging when to use more ND or where you are regarding DoF impossible to judge other than via a monitor. You can’t tell whether you are operating the lens at it’s optimum settings. In addition many of the Nikon DX lenses don’t have calibrated focus scales, so again it all comes down to guess work and the monitor.

With well designed stills glass things work well. My older Tokina 28-70 AT-X pro works very well with an accurate focus scale and proper iris control. My Nikon 50mm f1.8 manual lens and Tokina 28mm f2.8 lens also work nicely, but the Nikon DX lenses I have are far from ideal. I’m considering getting a set of Zeiss ZF.2 stills lenses as these appear to be very good lenses. I really need a prime in the 85mm range for interviews and portrait type shots.

The focal lengths I use the most are: 28mm, 50mm and  70mm. I would use a bit longer if I had the right lens. I don’t use the 18mm very often except for panoramas and landscapes.

So…. PL would be nice, but at the moment my budget won’t stretch to that. The Sony kit lenses are certainly great value for the money, but really 35mm isn’t wide enough so I would have to add a wider lens anyway. Stills glass can produce great results, but is not quite so user friendly.

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Convergent Design Gemini 4:4:4 Recorder and Monitor… Yum Yum!

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New Convergent Design Gemini

Well here it is. I’ve known about this rather amazing device for some time, but have been under NDA. I see this as the perfect companion for Sony’s PMW-F3 and with a street price of around $6,000 it’s a bit of a bargain. It is both a 4:4:4 uncompressed recorder and a rather handy monitor (it will do 3D recording and monitoring too), all in a single unit that is no bigger than most high end HD monitors. It records to readily available, cost effective SSD’s and can even make dual recordings to both drives giving an instant backup. It records uncompressed, so you get the absolute best quality possible. If you need an alternative codec then you simply transcode to your chosen codec when you ingest the material in to the edit system. When will it be available? Well CD are hoping to start shipping at the end of July, but that may slip a little, still it should not be too long to wait. Here are some of the headlines from CD’s press kit:

“Gemini enables videographers and cinematographers to capture at the ultimate video quality, in a small, low-power, lightweight package, at a very affordable price.  Gemini features a built-in high-brightness 5.0” 800×480 24-bit LCD touch-screen for monitor and playback, and introduces an industry first – the ability to simultaneously record to two removable solid-state drives – creating instant backups; an invaluable insurance against lost footage, as well as, opening new workflow options.

Building on, but not replacing, the highly successful nanoFlash, Gemini records 10-bit uncompressed 4:4:4 / 4:2:2 video in most popular HD/2K/3G formats, including 1080p24 and 1080p50/60, with up to 16-channels of embedded audio and timecode.  Gemini has slots for two removable 1.8” solid-state drives (SSDs), enabling recording in either parallel mode (instant backup), or spanning mode (longer record times).  Sporting a lightweight milled aluminum case, Gemini is about the same size and weight as the popular SmallHD DP6 monitor, but includes Recording, Playback, Image Processing, Dual HD/3G SDI I/Os, HDMI-Out and consumer level audio I/O; while consuming only 8 to 15 watts of power.

Gemini features S-Log support, with user programmable viewing LUTs, which can be enabled selectively for either HD-SDI output.  Flexible recording options, include simultaneously recording native S-Log video to one SSD (for on-line), and the same footage with burned-in LUTs to the second SSD (for faster creation of off-line proxies and/or H.264 video for mobile devices/internet).

Gemini records on to one or two SSD's

A 3D/Stereo (extra-cost) option will also be available, enabling dual-stream recording and playback in a single Gemini unit; creating the world’s smallest, lowest-power, 3D recorder available anywhere.  Gemini will record independent left/right channel files, while providing full synchronized playback of two streams as well as side-by-side, 50/50 composite, or anaglyph combinations.  Gemini can uniquely output 3D in multiple formats simultaneously (ie side-by-side and 50/50 composite), to aid in camera alignment and monitoring.”

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SxSW – South by Southwest.

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3D rigs and free beer at SxSW

What a great show in a great town. I really like Austin, Texas. Its a fun town with lots of great music, even better during the SxSW music and film festival. I’m here in the Manfrotto booth doing demos of the Genus Hurricane 3D rig. We have a nice JVC passive display and both a pair of Canon XF305’s and a pair of Sony XDCAM EX’s. But the best bit is free beer. Yes thats right free beer, not on the Manfrotto booth but from 4.30 it’s happy hour at the show and many of the exhibitors do free beer and free drinks. Oh I wish they had free beer at NAB which is only 3 weeks away now. Tomorrow I leave Austin and head to Iceland for a PMW-F3 workshop. From Iceland its on the Dubai so a busy week ahead.

Got to play with the Manfrotto 509 on the booth and it is a really nice tripod head.

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Measuring Resolution, Nyquist and Aliasing.

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When measuring the resolution of a well designed video camera, you never want to see resolution that is significantly higher than HALF of the sensors resolution. Why is this? Why don’t I get 1920 x1080 resolution from an EX1, which we know has 1920 x1080 pixels, why is the measured resolution often around half to three quarters what you would expect?
There should be an optical low pass filter in front of the sensor in a well designed video camera that prevents frequencies above approx half of the sensors native resolution getting to the sensor. This filter will not have an instantaneous cut off, instead attenuating fine detail at ever increasing amounts centered somewhere around the Nyquist limit for the sensor. The Nyquist limit is normally half of the pixel count with a 3 chip camera or somewhat less than this for a bayer sensor. As a result measured resolution gradually tails off somewhere a little above Nyquist or half of the expected pixel resolution, but why is this?
It is theoretically possible for a sensor to resolve an image at it’s full pixel resolution. If you could line up the black and white lines on a test chart perfectly with the pixels on a 1920 x 1080 sensor then you could resolve 1920 x 1080 lines. But what happens when those lines no longer line up absolutely perfectly with the pixels? lets imagine that each line is offset by exactly half a pixel, what would you see? Well each pixel would see half of the black line and half white line. So each pixel would see 50% white, 50% black and the output from that pixel would be mid grey. With the adjacent pixels all seeing the same thing they would all output mid grey. So by panning the image by half a pixel, instead of now seeing 1920×1080 black and white lines all we see is a totally grey frame. As you continued to shift the chart relative to the pixels, say by panning across it, it would flicker between pin sharp lines and grey. If the camera was not perfectly aligned with the chart some of the image would appear grey or different shades of grey depending on the exact pixel to chart alignment while other parts may show distinct black and white lines. This is aliasing and it’s not nice to look at and can in effect reduce the resolution of the final image to zero. So to counter this you deliberately reduce the system resolution (lens + sensor) to around half the pixel count so that it is impossible for any one pixel to only see one object. By blurring the image across two pixels you ensure that aliasing wont occur. It should also be noted that the same thing can happen with a display or monitor, so trying to show a 1920×1080 image on a 1920×1080 monitor can have the same effect.
When I did my recent F3 resolution tests I used a term called the MTF or modulation transfer function, which is a measure of the contrast between adjacent pixels, so MTF 50 is where there is a 50% of maximum contrast difference between the black and white lines on the test chart.
When visually observing a resolution chart you can see where the lines on the chart can no longer be distinguished from one another, this is the resolution vanishing point and is typically somewhere around MTF15 to MTF5, ie. the contrast between the black and white lines becomes so low that you can no longer distinguish one from the other. But the problem with this is that as you are looking for the point where you can no longer see any difference, you are attempting to measure the invisible so it is prone to gross inaccuracies. In addition the contrast at MTF10 or the vanishing point between black and white will be very, very low, so in a real world image you would often struggle to ever see fine detail at MTF10 unless it was strong black and white edges.
So for resolution tests a more consistent result can be obtained by measuring the point at which the contrast between the black and white lines on the chart reduces to 50% of maximum, or MTF50 (as resolution decreases so too does contrast). So while MTF50 does not determine the ultimate resolution of the system, it gives a very reliable performance indicator that is repeatable and consistent from test to test. What it will tell you is how sharp one camera will appear to be compared to the next.
As the Nyquist frequency  is half the sampling frequency of the system, for a 1920 x 1080 sensor anything over 540 LP/ph will potentially aliase, so we don’t want lots of detail above this.  As Optical Low Pass filters cannot instantly cut off unwanted frequencies there will be a gradual resolution tail off that spans the Nyquist frequency and there is a fine balance between getting a sharp image and excessive aliasing. In addition as real world images are rarely black and white lines (square waves) and fixed high contrast patterns you can afford to push things a little above Nyquist to gain some extra sharpness. A well designed 1920 x 1080 HD video camera should resolve around 1000TVL. This where seeing the MTF curve helps, as it’s important to see how quickly the resolution is attenuated past MTF50.
With Bayer pattern sensors it’s even more problematic due to the reduced pixel count for the R and B samples compared to G.
The resolution of the EX1 and F3 is excellent for a 1080 camera, cameras that boast resolutions significantly higher than 1000TVL will have aliasing issues, indeed the EX1/EX3 can aliase in some situations as does the F3. These cameras are right at the limits of what will allow for a good, sharp image at 1920×1080.
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Shutter, shutter speed and shutter angle.

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So you have your nice camcorder, EX1, EX3, AF100, F3 or whatever and it has a function called the shutter. This function may have different ways of being set, fractions of seconds or angle. What is it that the shutter does and what’s the difference between angle and fractions. Also why is it important to know what the frequency of the local mains electricity?

180 degree film shutter

Lets start by looking at the difference between shutter speed expressed in fractions of a second and shutter angle. Shutter angle comes from film camera days when the film cameras shutter was a simple spinning disc with one half of the disc cut away to allow the light to pass from the lens to the film. The other half of the disc would rotate around, blanking off the film so it could be advanced to the next frame. If you consider that a full circle is 360 degrees, then half of a full circle is 180 degrees. So for each frame cycle with a 180 degree shutter, light is allowed to pass from the lens to the film for half of the frame rate (180 being half of 360).

Taking a frame rate of 25 frames per second, each frame lasts 1/25th of a second. Half of that is 1/50th, so with  a 180 degree shutter the exposure at 25P is 1/50th of a second. There is no difference in the way the shutter works, it is just a different way of expressing the shutter timing.

Film camera 90 degree shutter

If we take that and look at a different angle, this time 90 degrees we can see from the picture that this is now one quarter of a full circle (90 is one quarter of 360 degrees). So at 25 frames per second the exposure is one quarter of 1/25th which is 1/100th and so on.

So why use angle instead of a fraction of a second? Well here’s the thing. If you set you shutter speed to 1/50th, then no matter what your frame rate the shutter speed will be 1/50th. The Sony EX and XDCAM cameras can shoot at various frame rates (as can many other cameras). It is traditional when shooting progressive, trying to create a filmic look to mimic the way a film camera behaves, so for this you would use a shutter that is open for half of the frame rate, ie. 180 degrees. When you set the shutter speed using an angle, when you change the frame rate the shutter speed will also change. Set to 180 degrees it will always be half of the frame rate. So going from 25P to 30P will change the shutter speed from 1/50th to 1/60th. Which neatly brings me on to the next bit….

Why it’s important to know the local mains frequency.

We normally take it for-granted in our home countries, shooting at our home frame rates that the pictures will be OK. But if you travel to a country where the mains frequency no longer matches the cameras base frequency then you may experience problems with flickering or strobing pictures when shooting under artificial lighting. Sometimes you will see light and dark bands slowly rolling up and down the picture. This happens because if you take your camera, lets say set to PAL (50i/25P) to the USA, the US mains frequency of 60hz will drift in and out of sync with the camera from one frame to the next. As many artificial lights brighten and dim in sync with the mains electricity you can appreciate that for one frame the lights may have one brightness and then the next frame the brightness may be different. You will possibly experience problems when the mains frequency cannot be evenly divided by the cameras shutter speed. For example shooting 30P will give problems when the mains is 50Hz as 30 will not divide evenly into 50.

So how do you counter this? Well you need to change your shutter speed to an even fraction or even multiplier of the mains frequency. So shooting 30P in a 50hz country you can use: 1/50th, 1/100th, 1/200th etc (mains frequency, frequency multiplied by 2, multiplied by 3 etc). Note that when shooting 60i you can’t normally have a 1/50th shutter so your limited to 1/100th or higher. When shooting 25P or (50i) in a 60Hz country you should use 1/60th, 1/120th, 1/240th etc. For 24P (23.98) you will often have to use the shutter when using consumer or industrial lighting using the same shutter speeds as give above, dependant on the local mains frequency.

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PMW F3 Picture Profile Smorgasbord.

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I’ve been working some more on picture profiles for the PMW-F3, mainly matrix settings. You can download the full set by clicking here: ac-profiles. Download the zip file, unzip and place the “Sony” folder in the root of an SxS card or SD card in an adapter. Place the card in the camera and go into the “picture profiles” menu and select a picture profile and then “ppdata” and “recall” to load the data into your camera. This will overwrite any PP’s you already have.

Here’s the latest settings I have:

ALL use Detail level -17, Frequency +20, Aperture +25 unless otherwise stated.

AC Warm1: Warm look, less blue/yellow

Cinegamma 1, Black Gamma -25, Black Level -2.

Matrix: Standard, level +8, R-G +14, R-B +12, G-R +4, G-B +8, B-R +4, B-G -18

AC Cool1: Stark cool look, maybe day for night.

Cinegamma 1, Black Gamma -25, Black Level -2.

Matrix: Standard, level +22, R-G -44, R-B -24, G-R -34, G-B =28, B-R -7, B-G -69

AC Elec1:  Electronic, vivid look.

Gamma STD1, Black Gamma -20, black level -3, Detail Level -10, Frequency -40

Matrix Hi-Sat,

NAT1CG-1: Neutral Look, natural colors, less yellow/green.

Cinegamma 1, Black Level -2

Matrix FL-Light, Level +3, R-G +2, R-B +2, G-R +8, G-B +8, B-R -8, B-G -6

Note that for most of these I have used a cinegamma, that is because I would assume that post work will be done on the footage. If your not planning on doing any grading or post work you should consider using a standard gamma which will give a richer looking image or cinegamma 2 which is broadcast safe.

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Genus Hurricane Rig to be sold by Manfrotto.

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Genus Hurricane Rig at BVE

Just an update on the progress of my light weight, modular 3D mirror rig, the Genus Hurricane Rig. In many countries, including the USA and UK the rigs will be available through Manfrotto accredited dealers. To ensure the very highest quality of service and support I am assisting Genus and Manfrotto with a global dealer training programme. In most cases dealers will already have 3D knowledge, but in order to sell the rig they must attend one of our workshops and demonstrate a good understanding of 3D and the Hurricane Rig. The rig was on show on the Canon and Manfrotto booths at the recent BVE show in London where it attracted a large amount of interest. In the UK you will be able to order rigs directly from me via the hurricane-rig.com web site. The advantage of purchasing this way is that I will be able to ensure that the rig will meet your needs and provide after sales support and training if required.

A pair of hurricane rigs at Singapore Poly.

I recently spent a few days in Singapore training the lecturers at Singapore Poly to use the Hurricane Rig. The polytechnic has purchased a rig as a teaching aid for stereoscopic 3D classes. They will be using it with an EX1R and EX3 as well as a convergent design Nano3D. This makes a really good light weight and low cost system. The Nano3D will output an anaglyph output so a conventional 2D monitor can be used on set to align the rig and for monitoring. This can be a big cost saver as 3D monitors are expensive items.

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Genus Matte Box, Rails and Shoulder mount on PMW-F3

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Genus kit fitted to an F3

So here is my current set up. As you may know Genus are making the 3D rig that I designed, so I get to play with the latest Genus bits and pieces. This is my F3 with a pre-production universal riser and base plate. The base plate will fit most camcorders and incorporates mounts for a pair of 15mm rails. Up front I have a Genus Wide 4×4 matte box. I’m really pleased with this light weight matte box with added top flag, it is a good match for the Nikon DSLR lenses that I will be using and is much, much lighter than my old Petroff matte box. It fits lenses up to 105mm  diameter so I will need a bigger matte box for many PL mount lenses (and bigger filters) perhaps I’ll get one of those nice TLS Raven Matte Boxes. For smaller lenses though the Genus 4×4 is really nice. Behind the matte box I have a Genus Superior follow focus. This is a silky smooth FF unit and on this lens it’s driving one of Genus’s clever flexible lens gears. This is a little bit like a hose clip, a thumb screw tightens it up so that it fastens snuggly around the lens. It will fit a much larger range of lenses than a traditional rigid lens gear.  The lens in the pictures is a Tokina ATX-Pro 28-70mm parfocal zoom. This is a great lens, plenty sharp enough for HD video and it doesn’t telescope when you zoom. Breathing is minimal. To match the lens to the camera there is one of Mike Tapas (MTF) excellent Nikon to F3 adapters.

Genus hand grips and Follow Focus

Underneath the lens I have a pair of hand grips from the Genus shoulder mount kit. The shoulder pad is right at the back behind the camera. For a little bit of extra convenience I have a Genus GAP adapter plate that allows me to use a quick release VCT-14 tripod plate.

The only thing left to sort is a loupe for the LCD screen. I’ve experimented with a Hoodman DSLR loupe that I have and this almost works. It doesn’t cover the full width of the LCD, but does allow me to use the LCD as a viewfinder when using this shoulder rig. I guess I need to get the Hoodman Hood Riser and Hood Strap to make the loupe fit the LCD correctly. I’ve read elsewhere that it does not fit the F3, but my experiments with the loupe alone suggests it will fit. Anyone else tried it yet? I’d rather go this route than getting a Cineroid viewfinder.

The tripod is a Manfrotto 509. This one of their new silky smooth “bridge” style heads. The 509 is a mid weight head with a pretty high payload capability, true fluid action and variable counter balance. I’m going do a separate write up on the tripod, it’s really rather good, especially considering the price!

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PMW-F3 Aliasing Update: Not the issue I feared it might be!

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A further update. Sony have requested the original clips with the moire, and I have provided them with these. I have not been able to reproduce the effect with any other brickwork, roof tiles or other repeating patterns other than charts. There seems to be something about the particularly dark shade of bricks with very bright mortar (cement) that the F3 doesn’t like. In addition I have not heard from anyone else using an F3 out in the wild that is having any issues. At least now I know what to watch out for. The moire was only slight and my wife didn’t spot it until I pointed it out to her.

I am very pleased with the images I’m getting from my F3 having just finished my first paying job with it. It was nothing exciting, just a corporate shoot, but the shallow DoF and reduced amount of lighting required has resulted in some really nice footage of an otherwise dull subject. I can’t show you the clips due to client confidentiality, but the client likes the look a lot and it was easier to achieve than it would have been with a DSLR thanks to the proper video camera ergonomics.

Cinematographer and film maker Alister Chapman's Personal Website