Sony Europe has released a new firmware for the European models
V.1.20:
Direct download without login:
http://supportdocs.sonybiz.net/sf/0/3/G/B/SS03GB_1.ZIP
Are you still waiting for that bubble of marsh gas called “the Scarlet camera”? Or have you spent your savings on a camera that really exists, such as the Canon 1D or Sony EX-1? Well, i have and i’m glad i did!
RED may have shown off a working EPIC camera at NAB back in April, but a serious bug has prevented the camera from actually going into production — to the point which RED founder Jim Jannard himself says that they’re not just behind schedule anymore, they are “embarrassingly late.”
He now says that the company has managed to nail the bug, however, and that the camera is back on track to head into production… sometime. Jannard also assures us that production of the Scarlet camera (also affected by the bug) will then follow, although that depends on “how fast we can get EPIC production rolling and solid” — he did later add that he expects it maybe to be sometime before the end of the year, though.
Sources: Electronista, REDUSER.net, engadget.com – Donald Menalson
Canon Japan has released a new firmware version for the Canon 7D: version 1.2.2. It fixes the very annoying “aperture jump” with Canon lenses – even in full manual mode.
From the Canon site:
What’s new in Version 1.2.2?
The following fixes have been incorporated.
Fixes a phenomenon in which the set aperture moves unexpectedly when shooting movies in manual exposure mode using some Canon lenses (such as macro lenses).
Supplemental Information: This phenomenon involves the aperture of the lens moving unexpectedly when the focusing ring moves (during focusing). Please note that aperture values also change when operating the zoom ring of a zoom lens that has variable maximum aperture values; however, this is a normal operation because the camera controls aperture values properly depending on the focal length (zoom position).
Fixes the AF point-selection behavior of the C.Fn III-7 (Manual AF pt. selec. pattern) custom function when set to [1].
Fixes a phenomenon in which the AF point-selection does not scroll through the available AF point selections. This would occur when rotating from the AF point in the lower left.
Fixes the AF point display for the viewfinder electronic level when shooting in the vertical position.
Fixes a phenomenon in which the viewfinder Electronic Level incorrectly displays the high side of the camera.
Corrects misspellings in the Spanish and Thai menus for applicable products.
You can download the new Canon 7D firmware from here.
We are proud to announce that Vrije Val has been awarded with a Honorable Mention at the Los Angeles Movie Awards 2010.
L.A.M.A. is the first festival, out of almost 20, that has judged Vrije Val and we are happy with this positive start of the festival season. It’s a modest award, but much appreciated. LAMA: thanks!
09
Jun
10
Hardware reviews postponed
Three weeks ago my mother passed away, one week ago one of my best friends – age 45. This is the reason why i’m getting behind schedule with the hardware testdrives. There is also a number of articles for this weblog that i’d planned, that will see the light eventually.
Things coming up:
- Hardware review: the Redrock Micro Mattebox
- Article: Building the Marvels Exodus: the poor man’s version of the Panavision Genesis
- Hardware review: The DollyTrax dolly
- Hardware review: NanoFlash 4:2:2 SDI recorder, new firmware
- Hardware review: GearNex geared head -> cancelled
Things i’d like to get my hands on…:
- Redrock Encore M3
- iPad with movie slate software (ipad not for sale here in Europe)
- Red Scarlet …
- Redrock remote follow-focus
I hope to get things back on track a.s.a.p.
Cheers!
Martin Beek
This feature film is in pre-production stage now and it’s release has been planned for September 2012. I’ll keep you posted on the proceedings..!
www.historyoffear.com
Synopsis line:
Singer Daisy D. is found dead on a garbage dump. Autopsy shows no signs of violence on her body and the cause of dead remains a mystery, until retired investigator Anthony Hawk is hired by Daisy’s parents. Hawk proofs that a tiny piece of metal found under one of her nails could not have come from the garbage dump where she was found. Eventually Hawk finds the very dark origins of the material and descends into a secretive world of fear and violence to bring the truth out in the open…
Copyright 2010 – Marvels Film – All rights reserved
How to perform on-set in-camera gamma adjustment
by Martin Beek, DP
Update may 14: this workflow does not work with the Sony EX1 & EX3 Cine Gammas; please use Std-3 or Std-4 gamma for these cameras.
In this article i want to explain the steps that i take to get the best exposure and gamma settings, before each shoot. Although it’s common practice for DPs using HD cinema cameras, there is not much information to be found on the internet on this subject. Of course; we have seen many picture profiles published and there are many discussions on which gamma curve to use under specific conditions, but is usually stops there. Most people don’t take a moment to adjust the camera any more than the way it was set up out of the box; or resolve to using the picture profiles they find on the internet, without alteration. I have always found that each specific scene demands a different setting, sometimes only slightly, sometimes drastically.
Because we publish a number of picture profiles ourselves, i receive questions regarding gamma settings almost weekly – mainly from indie film makers looking for a way to add a more cinematic look to their pictures; exactly what i’ve done on Vrije Val (“Free fall”, IMDb: here) . Now that after two years the world seems to have settled on using one profile or the other , the questions i receive are nowadays more far more specific and are mainly about workflow and detailed gamma settings.
As a start, i have published the steps i take before each shot below – regarding the setting of exposure, blacks and gamma – and they generally apply to each camera that offers black, gamma-level and black-gamma settings. Ranging from the Sony XDCam-EX series to the Panavision Genesis and everything in between. For the latter and other cameras that use a LUT and/or RAW workflow such as the RED, the basics of the following still apply, but then partly in a the postproduction stage.
The following workflow is pure technical and skips the whole leading cinematographic process of lighting the scene, defining scene contrast and composition.
- Black balance
If you are using a camera that has a black balance function (on the sony ex-1 in one of the hidden service menus), perform a black balance. Most camera’s will close down the aperture; on others you have to place the lenscap on the lens. - White balance
A correct white-balance, or a faulty one in that respect, changes the camera’s optical block behaviour and should therefore be carried out with some care. Use a 50% grey card or dedicated white balance card. - Set black pedestal (Black level / master black) – bottom of the curve
Do this once and leave it alone for the rest of the camera’s life. Connect the camera to a hardware or software waveform monitor (eg. Adobe OnLocation). Set gain to zero, cap the lens. Dial down the Black level until it just rests on the bottom Zero line of the scope. Don’t stretch or crush the blacks – taking master black further down will influence the gamma curve and all other levels of the picture. So leave it at Zero and don’t touch it again. We will use the following detailed gamma controls to darken or brighten the picture. - Set exposure (lens aperture) – top of the curve
Highlights can not be easily fixed in post, so i always set exposure for highlights. You do this using the lens aperture (iris). Set highlights using the iris around 100-103 IRE. If you only have zebras or histogram available, let highlights come up to the level of being on the brink of burning out. If you are not concerned about highlight detail in a contrast-rich scene, it’s up to you to define “burned out”
. If you have to deal with bright skies, consider using a ND.6 grad filter. - Set gamma level – middle part of the curve
Some cameras offer a course and detailed control over the gamma curve. The Sony EX-1 for instance has a “Level” adjustment on the same menu-page as where you define the gamma type. Use this gamma level for this step.
Since human flesh tones generally fall in the middle section of picture signal and gamma curve, we can use a human face or a dedicated grey card to adjust the 50-70% range. Use either a waveform monitor, zebras or histogram to monitor what you’re doing. Adjust the gamma level so that the skin exposure or test card falls in the middle range between 50 and 70%. Highlights on skin can easily go up to 70% but leave it at that max for this specific procedure. Bringing the gamma level up will increase the brightness of the middle range and lowering the gamma level will bring it down. - Set black-gammal-level – lower part of the curve
Instead of crushing blacks and doing other terrible things to the signal, we now continue to adjust the lower part of the curve – the shadows – using the Black Gamma setting. With this we control how the lower part of the curve behaves and dialling it down makes shadows darker and reduces detail in these areas. Dialling it up makes shadows more grey and will show more information. This setting can thus be used to delicately control the contrast of the scene and to obscure noise and other unwanted information from the darker areas of the picture by lowering this value. On the contrary, e.g. during night shots, extra information can be extracted by raising the black gamma level. - Use your eyes!
The eyes can be found on either side of your nose and do not have any controls you can access through any of your menus. If you have a reasonable HD monitor that has at least it’s black and white levels calibrated, you should be able to see what your’e doing to the overall picture. Use some common sense too. If you have to increase or decrease any of the levels mentioned over one quarter of the total scale (e.g. -50 on a -99 <> +99 scale), you should consider adjusting the overall lighting and contrast of the scene – if that is something under your control. If you don’t have a reliable monitoring option, use the camera zebras and histogram to judge levels.
The above works best with a gamma curve that – initially – gives you the flattest look; e.g. the Cine Gammas. Choose a gamma that offers you the maximum latitude possible for your specific camera. Since you have full control over the behavior of the gamma curve with the controls mentioned above, there is usually no need to choose a different gamma curve; unless extreme conditions require so. AND DON’T CRUSH BLACKS! Listen to your old DP, please!
Update may 14: for Sony EX1 & EX3 cameras, use Std gamma 3 0r 4, switch off auto-knee, set knee to 88, slope to +15 – to follow this workflow.
I want to conclude with the habitual apologies for my English – i am not a native English speaker.
Please feel free to comment on this post.
Martin Beek.
Thanks to the co-operation of Barry Johnson and Bart Keimen, i have been able to test and adjust my recently published picture profile. I have split the profile in two separate profiles; a standard and a “Tiffen” profile.
The picture profile optimises the XDCam EX cameras for use with DOF 35mm adapters and, optionally, the specialised Tiffen IR contamination filter.
The profile is applicable for all XDCam EX cameras, such as the EX-1, EX-3, EX1-R and the 350.
This is the trailer for the short movie i’ve been DP for in 2009:
Click the video to watch in full HD!
Movie stills: click here
After working with the EX1 and a whole range of DOF adapters, i’ve gradually revised my “Marvels Picture Profile”.
UPDATED may 14 2010! I have updated the profile after shooting for a few weeks, with and without the Tiffen T1 IR filter. I have also altered the detail settings, for use with a DOF adapter.
I’ve shot two short movies, two documentaries and two musicvideos in 2009 with this combo and have drawn many conclusions from editing the resulting footage. I’ve switched to shooting with the NanoFlash 4:2:2 digital recorder this year and i’m gearing up for a feature film production that will be shot 100% with the EX1&Nanoflash. As with my latest short “Vrije Val” (formerly known as Birth of a Song), Barry Johnson of Weta Digital has assisted with the creation of an all new “Marvels Picture Profile for Cinematic look”. And it’s absolutely totally different from any profile i’ve found on the web so far!
Taken into consideration were the results we had with previous profiles and shooting modes in 2009, the endless measurements Barry and i have taken from the raw material, the uniform color corrections i had to make to the EX1 footage and the endless discussions we had regarding filmlook, bokeh and detail. My objective was not only creating a film look to my taste, but also minimizing noise while retaining the beautiful EX1 detail – something you’ll need if shooting with a DOF adapter, and losing some of the typical Sony EX green hue and focussing on human skin color reproduction.
The following is the result and with confidence our definitive picture profile for future productions! You can watch a short nonsensical test on YouTube here: http://www.youtube.com/watch?v=iUdtbS_oUhw
No CC, only black and contrast adjusted. Unfortunately, some detail gets lost in the conversion.
Used Carl Zeiss 50mm 1.4 distagon lens at f4.0 with the profile below & cinegamma 1.
Remark: your’e looking at picture-settings that are tailored to my personal taste, with post-processing in mind. I’ve been able to use shots right out of the camera without the need for CC, but it does ask for contrast adjustment to taste.
Marvels 2010 Cinema PPs:
Update may 14 2010 -> Profile optimised for use with the Tiffen T1 IR filter:
- 1920 x 1080, 24p
- Shutter 180 degrees
- Color Matrix: FL Light
- level +8
- phase 0
- R-G 0
- R-B 5
- G-R -6
- G-B +8
- B-R -15
- B-G -9
- Color correction: off
- Detail: On (this is for use with a DOF adapter only, else set to OFF )
- Level: -8
- Frequency: +80
- Crispening: +30
- H/V ratio: -10
- White limiter: 80
- Black limiter: 80
- V DTL creation: Y
- Knee apt level: 0
- Skin tone detail: off
- Gamma: Cine 1, level 0
- Black: -1
- Black gamma: 0
- Low key sat: -15
Update may 14 2010 -> Standard profile:
- 1920 x 1080, 24p
- Shutter 180 degrees
- Color Matrix: Standard
- level +4
- phase 0
- R-G 0
- R-B 5
- G-R -6
- G-B +8
- B-R -15
- B-G -9
- Color correction: off
- Detail: On (this is for use with a DOF adapter only, else set to OFF )
- Level: -8
- Frequency: +80
- Crispening: +30
- H/V ratio: -10
- White limiter: 80
- Black limiter: 80
- V DTL creation: Y
- Knee apt level: 0
- Skin tone detail: off
- Gamma: Cine 1, level 0
- Black: -1
- Black gamma: 0
- Low key sat: -15
Regarding detail: i want to bring out fine detail without halos. The detail settings above give a very unobtrusive sharpening of the picture, for use with DOF 35mm adapters. No halos, no sharp black or white edges. Noise reduction through crispening. Update may 14: the crispening setting of -20 in the previous version was a typ0, should have read +20 and is now adjusted to +30.
Regarding the colour matrix adjustments: the matrix corrections in the first profile are to compensate for the green hue the IR filter casts, even after taken a white balance. I use the fluorescent light matrix, simply because it does exactly two things to the picture (and in measurements) that this specific camera demands; it remove the “green Sony hue” and it is the lowest-noise matrix. It shifts the colour balance towards red/magenta, removing the green hues and preventing your cast from looking terminally ill.
Regarding the gamma settings: read my recent article on the subject (two articles above this one). I use Cine 1 gamma almost exclusively because it’s clearly the most lownoise gamma. I sometimes use Cine 4 indoors with low / existing light. Again, use the workflow i suggest in my recent article on adjusting Gamma on a per-scene basis.
Thanks to Alister Chapman for pointing me to the new matrix correction. Please take a moment to visit his great website: http://www.xdcam-user.com/
Please feel free to test and experiment with this profile and use this messageboard to comment.
Cheers!
Martin Beek
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