I’ve added a new section in the xdcam-user.com forum for listing details of my various picture profiles. You will need to be a registered forum member to view or comment, but registration is free. I hope to add many profiles to this forum over the coming weeks for many of the XDCAM cameras as well as the new Canon C300 once I start to get that dialled in. I’ve started with my EX S-Log style gamma curve.
Last night was a big deal. 12 PMW-F3’s shooting the legendary pop band Duran Duran. Back in the 80’s DD were one of the first bands to embrace the video age with ground breaking, big budget films to accompany their top 10 singles that were very different to anything done before. I have to admit I was and still am a big fan. Back in April, I had a discussion with my good friend Den Lennie about possibly shooting a Duran Duran concert with F3’s. That led to a trip to Berlin in May to shoot the band at a small concert, however, lead Singer Simon LeBon had vocal problems and the entire tour got postponed at the last  minute.
F3 and Optimo 24-290 rigged in Berlin for the concert that never happened.
We were fully rigged at the venue, ready to go when we got the last minute call that it was off. This was very disappointing. Despite a second attempt to stage the show, it never went ahead and that was about the last I heard.
Being a Duran fan, I went to see them in concert at Birmingham about 2 weeks ago. It was a fantastic gig and the whole family had a great night out. As I watched the amazing light show, I thought to myself that it was a great shame that this was not being recorded.
Then almost out of the blue I get a phone call from Den Lennie and James Tonkin of Hangman Studios. The question was… Did I think we could shoot a Duran Duran concert with just 7 days to prepare? Of course I said yes and having seen the show, I recommended that we should try to make it happen. So James and Den got together with Director Gavin Elder who has been working with Duran Duran since 2003 and the magic started to happen. Just 48 hours latter I got a message from Den to say we were on! My task was to look after most of the technical aspects of the shoot, things like camera settings, picture profiles etc.
Now, I could tell you all about the tech issues that we discovered during the recce we did when we went to a gig at the O2 arena in London, but sadly you’ll have to wait. Den, James, Gavin and myself will be doing a full write up of how we made the choices we made and some of the many challenges that a concert shoot with super 35mm cameras throw up. I can tell you, it’s not as easy as a traditional OB, not in any way. But when you start pairing up Sony F3’s with 1000mm, yes 1m, lenses, beautiful Arri Alura 18-80mm and Optimo 24-290mm lenses, shooting an incredibly dynamic light show at a massive sell-out arena concert, I think you can see why this project was so exciting!
A pair of F3's with Optimo 24-290's and NanoFlashes on O'connor heads.
Everyone pulled out all the stops. Changes were made to the gig lighting and I created a picture profile to match. Audio was worked to perfection and the band put a massive amount of extra energy into the performance with the end result of an electrifying atmosphere and from what I’ve seen so far, jaw dropping images. This is one of those incredibly rewarding projects that I’ll remember for a long, long time.
Den and James did an incredible job organising kit lists, camera plans and crew lists. I’m sure they will tell their own story in due course.
James Tonkin checking out on of the 12 F3's.
It’s interesting to note that as DoP, Den’s main role was an organisational role and this is something often forgotten, a Director of Photography is not just a cinematographer, but also an organiser, arranger, overseer of the cinematography. I think the term DoP is often miss-used these days often simply being used as a fancy term for cinematographer or camera operator. A true DoP does not shoot, the camera operator does that. The DoP, directs the camera operators and directs the lighting crew to produce images to his or her satisfaction.
The final Duran Duran film is going to be distributed many ways, some of which I’m really excited about, but I can’t say more at this time. I hope you will all get a chance to see it. At this stage it is still to be edited, graded etc. James and Gavin will be working hard overseeing that stage of the production.
Me, at my camera just before the start of the set.
My role.. camera setup, creating a custom picture profile, helping on lens and kit choices, on site tech support and then operating one of the two PMW-F3’s using a B4 to s35mm adapter along with big ENG zooms. I used one of the MTF B4 to s35 adapters that I designed along with a Canon 10 to 400mm zoom. When you add the 2.5x magnification factor of the adapter system that equates to a 25mm to 1000mm zoom. My role was to shoot the close ups of lead singer Simon LeBon from the Front of House area, 160ft from the stage. With such a long lens the DoF was tiny and the shoot was hard work, but incredibly rewarding.
I promise that there will be a much more in depth write up in the future from Den, James and myself covering all aspects of the project as well as a full behind the scenes video (we had a crew shooting BTH footage). Watch this space!
Note: There is something up with the frame grabs. For some reason they are very dark. I’ll look into this in the morning and get some more accurate grabs online.
First of all let me say thanks to Ben Allan on CML list for getting me thinking about this. He has already started experimenting with creating a log style Picture Profile for the EX1. All the setting you’ll find here are my own work and based on tests done with real scenes and some dodgy home made latitude test charts 😉
Ben’s musings on CML made me consider what S-Log is. In essence it is nothing more than a clever gamma curve that allows you to capture a greater dynamic range than is normally possible with conventional gamma curves. The reason why the standard gamma dynamic range is normally constrained is in part simply because if you record too large a dynamic range and then show it on a conventional monitor or TV, it simply does not look right. So to make it look right it must be graded in post production. In order to do a significant grade in post, the quality of the recording has to be good enough to withstand a fair bit of pulling and pushing. As a result 10 bit recording is recommended (however it is still possible to work with lot with top quality low noise 8 bit recordings, not that I would recommend this). Anyway as both the standard PMW-F3 and EX1/EX3 have 10 bit outputs I decided to see if it was possible to come up with a picture profile that would mimic a Log curve and then see if it actually brings any real world advantage.
Genuine S-Log, mid grey @38%
First up I experimented with the F3. I already have the S-Log option, so this gave me a benchmark to work against. To mimic S-Log you need to increase the gamma gain at the lower end of the curve, you can do this with the Black Gamma function. I know that with S-Log the cameras native ISO is 800 as this is the sensitivity at which maximum dynamic range can be realised with the F3’s sensor. So I started my experiments at 800iso. I could bring up the shadow detail with the Black Gamma but I notice that I appeared to be trading off some highlight handling for shadow information, so while the images kind of looked like S-Log, they did not really gain any latitude.
AC-Log v1. Very similar to S-Log, same exposure as S-Log
During this process I realised that my mid range sensitivity was now a lot higher than with genuine S-Log, so I decreased the camera gain so I was now at 400iso and started tweaking again. Now with Black Gamma all the way up at +99 I was seeing around 1 stop further into the shadows, with no impact on highlight handling.
When I tested my new Picture Profile on a real scene, exposing as you would S-Log with mid grey at 38% I was very pleased to find some very similar images that do grade quite well. As well as the Gamma tweaks I also incorporated a few other changes into the profile to increase the overall grade-ability.
CineGamma 4, mid-grey at 38%
There is a definite improvement in shadow reproduction. It’s not as good as real S-Log, but it does give a very useful improvement for those without S-Log. One interesting point is that the exposure between the two log frame grabs posted here is not changed, so even though the camera is set at 400iso, when the picture profile is applied the camera behaves more like an 800iso camera and exposure should be set accordingly. Â I think my PP (which you can download at the bottom of the page) brings a little under a one stop improvement in DR, real S-Log is about 2 stops.
If you click on the image captures you can view them full frame. When you compare the AC-Log and Cinegamma 4 images you should be able to see more shadow detail in the tree on the right of frame with the AC-Log yet the sky is further from clipping as well.
So what about the EX1 and EX3, can the same be done for them? Well this is much more of a challenge as the EX cameras are much noisier. Simply bringing up the Black Gamma does help you see into the shadows a bit better but it comes at the cost of a lot of extra noise and really makes it un gradable. Normally I don’t recommend using negative gain as it can reduce the dynamic range of the camera. But I figured if I use negative gain and then increase the gamma gain that should cancel out any dynamic range loss. To then avoid the usual -3db reduction in highlight performance I adjusted the overall gamma gain to return the peak output level to 109IRE. After a bit of fiddling around with my test charts and waveform monitors I could see that it was possible to gain a small amount of dynamic range, a little under 1 stop, however there is an overall increase in the noise level of about +4db. Now that doesn’t sound too terrible, but to gain the extra stop of DR you have to under expose compared to standard gamma’s, typically with S-Log you would put mid grey at 38% (use the centre spot meter on the EX1/EX3 and a grey card). This works reasonable well with this fake log picture profile. The problem however is that when grading you may find that you have to add still further gain to bring skin tones to a normal level and this will accentuate the noise. You could use something like the Neat Video plugging to reduce the noise and in this case I think this sudo Log picture profile could be handy in tricky lighting situations. The EX1R Log picture profile, to work correctly MUST be used in conjunction with -3db gain, any other gain setting and you will loose dynamic range. Again like real S-Log, 10 bit external recording is desirable, but why not play with the picture profile and try it for yourself. It is a bit experimental, I’m not convinced that the extra stop of DR is worth the noise penalty on the EX1R, but then I’m spoilt as I have an S-Log F3.
I have uploaded both the F3 and EX1R picture profiles into a single zip file that you can download below. You will need to have an account on xdcam-user.com to download them, or register for a new account first. Un-zip the package and copy the SONY folder to the root of an SxS card, so you should have both a BPAV folder and a SONY folder in the root directory. The cameras will need the latest firmware versions to load the single profile directly. In the Picture Profile menu choose an empty PP and then in the bottom PP menu chose “load”.
I’ve been playing with the Sony 3D link kit for the F3. I’m still discovering some of the fine details of how and what exactly it gives you, but what I will say right now is that it really, really simplifies 3D with a pair of PMW-F3’s.
The kit comprises of a couple of SxS cards with the software keys required to activate the cameras plus a special cable that connects the two cameras together. After loading the software keys on to both cameras you get an additional menu option to activate the 3D link in one of two modes, master or slave. With one camera connected to the other and one set as master, the other as slave the first thing that happens is that the cameras will sync with each other. My initial testing indicates that this is more than just Genlock, it appears to be full shutter sync. I’ve tried a few fast shutter speeds and so far have not seen anything to suggest the shutters are not in sync, but a proper test is still needed to confirm this.
Other things that happen is that the cameras will both go in and out of record in sync and the timecode of the master camera is used by the slave. If you change the shutter on the master camera the slave also changes. I’m still learning more about the way the 3D link system works and I really like it a lot. Anyone doing a lot of 3D work should seriously consider it. It is pricey at around $5k for the kit for a pair of cameras (although it does also include a couple of SxS cards) but the stable sync, dual start/stop and small things like the sync shutter speed changes does remove another set of things to worry about during your 3D shoot.
I’ve been testing and using a Gemini with my S-log equipped PMW-F3 for a month now and I have to say that every time I use the combo the image quality amazes me.
The Gemini firmware has been updated many times in that month, but I can report that the latest release is nice and stable and delivering the goods. The gemini is remarkable easy to use, the on screen menus are clear and concise. Talking of the screen the LCD is very good indeed. It is clearly visible even in bright direct sunlight. I’ve also been using some other external recorders with screens and the Gemini stands out as a clear winner in this regard.
Power consumption is very good. I’m using Swit 86U batteries with a D-tap to power both the F3 and the Gemini and I get around 2 hours from a fully charged battery. This keeps the size and weight of the rig very manageable, no need to upgrade my tripod or use special mounts for the Gemini, it sits very nicely on the F3’s handle. You can still use the full kit handheld without needing to use a shoulder mount or wear the recorder in a rucksack or similar.
Now.. there are some important things to consider with the Gemini. It is a high end production tool at a low end price. You do get high end, beautiful image quality and you get the same kind of files as you’d use for high end movies and commercials. These DPX files are basically sequences of uncompressed still frames. If you are considering the Gemini you do need to think about your workflow. You will be generating some damn big files, 750GB per hour and that presents a few issues.
Don’t expect to transfer your material to a laptop hard drive in real time. The Gemini uses ultra fast SSD’s because regular hard drives are not fast enough for 444 uncompressed data, so you just won’t get real time uncompressed copies to a laptop drive. It’s taken me up to 3 hours to copy an hour of footage to a fast single hard drive. If you want real time or faster transfers of uncompressed 444 (from ANY device) then your going to want a nice big, fast, raid array, that’s just a fact of uncompressed life.
One option with the Gemini is to convert your files to a compressed codec as you transfer from the SSD’s. This can actually end up faster than doing a straight copy as with a fast computer the material can be pulled of the SSD quickly, encoded and then the more compact file written to a conventional hard drive. For this to be effective I recommend at the very least a dual core i5 2.3Ghz machine. For current model MacBook and iMac users you will be able to use the Sonnet Echo Express thunderbolt to express card adapter along with a Sonnet Express34 to dual eSata adapter to get fast transfers (available December).
I’ve been transcoding to ProRes 4444 and the results are superb. Avid Media Composer 6 now includes a 444 codec but I have not tested this yet. My i7 iMac will encode from uncompressed to ProRes 444 at around realtime speeds.
Another thing you must consider is that because DPX is a stills sequence, there is no audio. At the moment the Gemini does not record audio, so I record both in camera with audio plus the DPX files on the Gemini. It’s pretty straight forward to sync them up in post. There will be a firmware update in the future to add audio recording to the Gemini, so this is just a temporary issue.
So, being realistic about things. The Gemini 444 is a great device. It’s uncompressed so the image quality is fantastic. But you must consider that this is a very high end uncompressed recorder and with any uncompressed HD recorder you will end up with big files. I won’t be using the Gemini for everything I do, the workflow doesn’t suit fast turnaround productions and frankly it’s overkill for web videos etc. But when quality is paramount the Gemini truly excels, performing as well as devices costing many times more, yet offering one of the best LCD’s, very low power and it is a featherweight in comparison to some of the other external brick recorders.
MTF - Alister C' B4 to F3/FS100/Canon lens adapter
So here it is. The first one off the CNC machine with many more to follow in the next few days. There will be an additional lens support bracket on it by the time they ship and of course they will be completely anodised. It requires the use of a 2/3″ lens with a 2x extender. Optical performance depends on that of the lens, so an HD lens is highly recommended, however if you have an old SD lens kicking around it may be useable. When using the adapter you use the 2x extender. The total magnification is 2.5x so a 7.6mm to 152mm 20x ENG lens becomes a 19mm to 380mm lens. There is also a 2.5 stop light loss so a f1.8 lens becomes a f6 lens. The adapter will come as a kit for the PMW-F3 or FS100 for £1150. If you wish to use it on a Canon DSLR with an APS-C sized sensor (7D, 550d, T2i etc) the price is £950.
Close up of the B4-F3 adapterCan be used on an APSC DSLR as well!
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.
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.
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.
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
