So, this comes on the same day as Canon’s C300. Finally we have full specs and pricing on the Red Scarlet X. I have to say I might be ready to jump ship! http://www.red.com/products/scarlet It certainly makes more exciting tech spec reading than the C300. 5K (pixels) sensor, Redcode 4K recording on to SSD’s, 60fps at full HD and a dynamic range of around 13.5 stops.
The price for a ready to go kit is $14k USD which is extremely good for a super 35mm camera with 5K (H-pixels). The use of the Canon EOS mount makes life cheap and simple though the use of L series Canon glass, although a PL mount is also available. The only possible fly in the ointment for me may be a lack of Genlock, which means I can’t use a pair of them for 3D.
Delivery is said to start in December, lets wait and see on that. It’s certainly an exciting time to be a cinematographer with so many interesting choices available. I just wish I could afford one of each.
So, I might be a little late on this announcement as I’m currently working in Taiwan, but yesterday Canon released information on two new video cameras and 4 new zooms plus 3 cinematography prime lenses. The press information from Canon is below. Reading between the lines and picking out some of the key points this is a very significant announcement. The cameras have a new 8.29 mega pixel sensor recording to compact flash cards at 1920 x 1080, 4:2:2 at 50Mb/s. The sensor uses a bayer type pattern, but due to the very large pixel count it has a Red and Blue pixel for each sample in the 1920×1080 frame as well as two Green pixels. This should lead to very good colorimetry, but is a little odd considering that the camera only has a single HDSDi output, which I assume would just be 1.5G 4:2:2, so much of the 4:4:4 data derived from the sensor goes to waste unless it can output 4:4:4 10 bit over HDMI. The higher pixel count and thus smaller pixels than F3/Alexa could have an impact on dynamic range sensitivity and noise, but until I see some raw footage or get my grubby hands on one, who knows? The Laforet video “Mobius” http://vimeo.com/30215350 has quite a “video” look to it, but that might just be the online compression. The camera has a built in Log Curve that is said to offer improved dynamic range. Clearly Canon have some of the F3 market in their sights.
There are HDMI and HDSDi outputs so recording to an external device to improve image quality should not be an issue, 8 bit, 4:2:2 is a bit of a shame on a camera with a sensor spec like this, at least it’s an improvement over the Sony F3’s 8 bit 4:2:0 at 35MB/s. If your going to use the Log curve then you defiantly want to record to a higher quality, preferably 10 bit codec (I am assuming the HDSDi output is 10 bit). UPDATE: I am reading many reports of the HDSDI out only being 8 bit. I hope this is not the case!!!
It does tick many professional feature boxes with XLR audio in, Genlock and even a sync output. This would make it well suited to 3D applications. It looks kind of like a DSLR and has a removable handgrip, a rear mounted EVF as well as a removable smallish LCD panel. One mistake I think Canon have made is that you have to choose between the EOS lens mount and PL mount versions of the camera. Why could they have not made a camera body with a removable mount that would allow you to choose between PL or DSLR glass without having to change the entire camera body, or use an EOS to PL lens adapter with it’s extra optical elements?
Still I do like the thought of a stripped down EOS mount version (C300) with a nice L series zoom on it for shooting on the road or covert filming. However even the use of the EOS mount is a little strange as there is no provision for Auto Focus or Auto Iris, something that you would have thought would be easy to implement. This is a fully manual camera. I’d really like auto iris you know, if only for tricky time-lapse sequences. Iris control is on the camera body. According to Andy Shipsides of Abel Cine the iris steps slightly as you adjust it when using EOS lenses, what a shame. Makes PL sound like a better option for serious productions.
Having a s35mm sized sensor and the 50Mb/s 4:2:2 codec does meant that it ticks all of the BBC’s approval boxes, so you should be able to use it on most broadcast projects. But it is a strange beast on paper. A DSLR-ish form factor, EOS lens mount without focus or iris control, a 4:4:4 ready sensor but only 4:2:2 recording. Hmmm, you know what, I have to wonder if that sensor isn’t going to appear in another camera with RGB or Dual Link recording. Camera price is approx $20k USD, available in January.
As an F3 owner the new Canon PL mount lenses look ver interesting indeed. The 30-300mm T2.9 – T3.7 would be a great lens for shooting music concerts and other similar events, while the 14.5-60mm T2.5 would be a fantastic all round zoom covering the most commonly used focal lengths that I use.
Canon Press Release:
Lights! Camera! Action! Canon Launches Cinema EOS System
All-New Cinema Lens Line-up & Digital Video Camcorders to Leave No Story Untold
Canon today announced its full-fledged entry into the motion picture production industry with the launch of the Cinema EOS System. Canon’s new professional digital cinematography system spans the lens, digital video camcorder and digital SLR camera product categories.
The Cinema EOS System targets a new area of imaging and builds on a 74-year history of innovation and expertise in the field of optical and imaging technology.
The new Cinema EOS System, offers compatibility with Canon’s wide array of high-performance EF lenses, provides cinematographers with a range of unprecedented creative possibilities to ensure that no story is left untold.
With the debut of the Cinema EOS System, Canon today introduced seven new 4K EF Cinema Lenses, four zoom lenses and three single-focal-length models, which complement the current diverse line-up of interchangeable EF lenses for EOS SLR cameras.
4K EF Cinema Lens Line up
The seven new 4K EF Cinema Lens models include four zoom lenses covering a wide zoom range from 14.5 mm to 300 mm, two models each for EF and PL lens mounts, and three single-focal-length lenses for EF mounts. All seven new lenses deliver exceptional 4K (4096 x 2160 pixels) optical performance and offer compatibility with Super 35 mm-equivalent sensors.
EOS C300/C300 PL Interchangeable-Lens Digital Video Camcorder
The Canon EOS C300/C300 PL is an all new digital video camcorder available in two models: the EOS C300, equipped with an EF lens mount which is compatibility with the wide array of Canon EF interchangeable lenses; and the EOS C300 PL, offering a PL lens mount for use with industry-standard PL lenses. The camcorder features a Super 35 mm, 8.29-megapixel CMOS sensor ideally suited for digital cinematography.
You may have seen that Sony are releasing a free firmware update in the next week or so for the PMW-F3 that incorporates a new version of S-Log. You will still need to have purchased the S-Log upgrade in order to use S-Log, but now there are two variations of S-Log, normal S-Log and EI S-Log.
EI S-log differs from the original S-Log in that you can select either S-Log or EI S-Log mode in the menu. When EI S-Log is selected you have the ability to then add EI gain to the MLUT’s (Monitor Look Up Tables or LUT’s). When you switch the EI ISO to 1200 for example, the additional gain is added to the LUT to give the equivalent S-Log + 3db gain output on the monitor out and to the SxS card recordings as using S-Log with gain. But the actual S-Log output on the A-B dual link outputs remains fixed at 800 ISO. The benefit of this is that what you see on the monitor out represents what you will end up with after post production with added gain or lift, it’s a way of pre-visualising what you will finish up with, without compromising your recordings.
Theoretically, if the cameras native 0db gain point is represented by 800 ISO. Which is what you have when using 50/60i standard gamma at 0db. Reducing the cameras S-Log gain like this by 6db compared to the previous or standard S-log base ISO of 1600. Should yield a 6db (1 stop) dynamic range improvement. Given that S-Log already improves the dynamic range by about 1.5 stops, then on paper at least, EI S-Log should yield a 2.5 stop improvement over the 11 stops the standard and cinegammas give. That would make the F3 a camera capable of 13.5 stops which is quite remarkable. I hope to be able to measure the actual DR very soon and see if this is really the case. Anyway, whatever the outcome of the DR measurements, the EI option is a nice one to have as it will allow you to underexpose a little (to gain extra headroom) when you shoot and then use the added EI LUT gain to check that even after gain gets added in post the images will still be noise free enough for use in your production.
A further feature of the update is the ability to change the R and B gain when shooting in S-Log. This will allow you to tweak your white balance. Currently when shooting s-Log you can only use a preset white balance dialled in in 100k steps, there is no option to white balance the camera using a grey/white card.
You may have seen that Sony are releasing a free firmware update in the next week or so for the PMW-F3 that incorporates a new version of S-Log. You will still need to have purchased the S-Log upgrade in order to use S-Log, but now there are two variations of S-Log, normal S-Log and EI S-Log.
EI S-log differs from the original S-Log in that the base ISO is 800 as opposed to the 1600 of the original. You can select either S-Log or EI S-Log mode in the menu. When EI S-Log is selected you have the ability to then add EI gain to the MLUT’s (Monitor Look Up Tables or LUT’s). When you switch the EI ISO to 1200 for example, the additional gain is added to the LUT to give the equivalent S-Log + 3db gain output on the monitor out and to the SxS card recordings as using S-Log with gain. But the actual S-Log output on the A-B dual link outputs remains fixed at 800 ISO. The benefit of this is that what you see on the monitor out represents what you will end up with after post production with added gain or lift, it’s a way of pre-visualising what you will finish up with, without compromising your recordings.
Theoretically, if the cameras native 0db gain point is represented by 800 ISO. Which is what you have when using 50/60i standard gamma at 0db. Reducing the cameras S-Log gain like this by 6db compared to the previous or standard S-log base ISO of 1600. Should yield a 6db (1 stop) dynamic range improvement. Given that S-Log already improves the dynamic range by about 1.5 stops, then on paper at least, EI S-Log should yield a 2.5 stop improvement over the 11 stops the standard and cinegammas give. That would make the F3 a camera capable of 13.5 stops which is quite remarkable. I hope to be able to measure the actual DR very soon and see if this is really the case. Anyway, whatever the outcome of the DR measurements, the EI option is a nice one to have as it will allow you to underexpose a little (to gain extra headroom) when you shoot and then use the added EI LUT gain to check that even after gain gets added in post the images will still be noise free enough for use in your production.
A further feature of the update is the ability to change the R and B gain when shooting in S-Log. This will allow you to tweak your white balance. Currently when shooting s-Log you can only use a preset white balance dialled in in 100k steps, there is no option to white balance the camera using a grey/white card.
I’m still on the road running workshops across Asia. So far I’ve done Mumbai, Hanoi, Hong Kong and now I’m in Taipei. Really interesting seeing the contrast between all the different Asian countries. I loved Vietnam, shot a load of footage at Halong Bay that I will edit together in the next couple of weeks with the F3.
I hear from Convergent Design that they are about to ship the first batch of Gemini 444 recorders. I’m testing one on this trip and it’s an amazing device. The possibilities when combined with a S-Log equipped F3 are fantastic.
Talking of S-Log, I’ve been lucky enough to have played around with a couple of F3’s with the new (not yet released) EI S-Log option. It’s quite a significant improvement over the existing S-Log in my opinion. The lower base gain/ISO means less noise in the images, but the ability to add gain to the LUT’s via the EI options means that you can pre visualise what the image will look like with post production gain or lift added. This in turn means that you can safely underexpose, knowing that the image will still be acceptable after the grade. This underexposure can be used to give you more headroom in problem shots. I have not been able to measure the actual dynamic range yet (maybe tomorrow) but it’s at least as good as the standard S-Log, in theory it should be a stop greater. I’ll let you know.
Hi all. A very brief post as I’ve just got back to the hotel from a long day at Broadcast India.
I finally found a little bit of time to upload a couple of quick frame grabs from the Gemini. Sorry they are not Tiff’s or the DPX files but time is scarce.
There are 3 frames: The graded S-Log, A Cinegamma 3 grab and the raw S-Log.
The increase in dynamic range over the cinegamma frame is clearly visible in the highlights outside the window as well as on the wall behind the actor.
I have to say I’m liking the Gemini a lot. The firmware is not quite there yet but it’s very, very close with almost daily updates being released. Apart from an initial hiccup (which has now been rectified) the unit has been stable even in the Mumbai heat. It amazes me and everyone else that see’s it that the little 5″ monitor sitting on the handle of my F3 is also a 4:4:4 uncompressed recorder, its so compact compared to all the other alternatives. Being able to apply LUT’s on the Gemini is also very neat.
The screen is super bright and easily viewable in direct sunlight. Im powering both the camera and the Gemini of a single Swit S-8U62 battery which gives me a little over 2 hours from a full charge.
It does generate some pretty big files, so I have been using Adobe Premier to transcode the clips to Apple ProRes 4:4:4 on ingest. This is taking a little longer than I expected, but then I am using a vintage MacBook Pro 3.1 and I guess is a small penalty to pay for the incredible image quality that I’m getting.
Combine all this with the soon to arrive EI-SLog firmware from Sony and it will all only get better and better.
S-Log with basic grade appliedSame shot but Cinegamma 3Raw S-Log frame grab. Click on image for flu frame.
Im currently doing a grand tour of Asia. I’m writing this post from my hotel in Mumbai as Broadcast Asia starts tomorrow. I’ll be running some short F3 seminars at the show so please drop by.
After Broadcast Asia, I’m going to be doing F3 workshops in Hanoi, Vietnam on the 25th of October, Hong Kong on the 30th of October and Taiwan on the 4th of November. In addition there will be a 3D workshop in Hong Kong on the 29th of October and a PDW-700, PMW-500 workshop in Taiwan on the 3rd of November.
If you want a place at any of the workshops please use the contact form to email me.
Well there is still a lot of mystery surrounding Canon’s big Hollywood announcement, but in the mean time this landed in my in-box. The Canon EOS-1DX. Skipping through all the blurb about pixels and dual Digic 5 processors I wanted to see what was new on the video front. It looks very impressive on paper. There is no more line skipping, so the images should be greatly improved with much less moire and aliasing and the clip length limitation is gone too. Also very interesting is that you can choose between a Long GoP codec or an I-Frame only version, although no idea of what the bit rates are. It also now has timecode and audio level meters, so Canon have followed what the Magic Lantern guys have already been adding via 3rd party software. Clearly Canon are not going to be steam rollered by all the new s35mm camcorders that are coming out and even I could be tempted over to the dark side by something like this. All in all it looks to be very interesting indeed. It begs the question as to what will the 5D Mk3 do and what’s going to be announced on November 3rd, then there is RED too. It’s a great time to be a film maker on a budget.
"Stretched" Hurricane 3D rig on a Motion Control head.
I’m working on a big project to shoot some top secret locations using new technologies and new techniques. Part of this project involves trying out various ideas and equipment to see how it works. So on Saturday myself, Geoff Boyle and Justin Pentecost met up to lug a motion control rig (provided by Justin), a “stretched” version of the Hurricane 3D rig and a pair of F3’s up a bloody great near vertical hill before dawn. Only a couple of the bits of kit for this shoot will be used in the main project, but we needed to look at the logistics, portability and practicalities of some of them before embarking on the main shoot next year. It’s an exciting project that should be a real eye opener.
Well I’ve been out and shot a few short clips with the Gemini just to shake it down before I fly to Mumbai in the morning. It works well, even though the firmware is a very early development issue. First thing that got me is just how bright the screen is. Look at the picture here and compare it to the not too shabby F3 LCD!
I have a free day on Tuesday to shoot some local footage in Mumbai, which I will be doing with S-Log and the Gemini. I’ll get some frames on;one as soon as I can.
Cinematographer and film maker Alister Chapman's Personal Website
