Tuesday, October 07, 2008

Sony notes, 7 Oct 2008

Adam Wilt | 10/07- 09:15 PM

Tidbits from the VMI show

The business end of the HVR-Z5.

There were a couple of unexpected surprises at VMI’s mini-Sony show today in Sunnyvale, CA. While the HVR-S270 and PMW-EX3 camcorders, the PMW-EX30 SxS recorder/player, wireless mics, and LCD displays were the main attractions, Sony also fetched along one of three prototype HVR-Z5 camcorders currently in the USA, as well as a fiber-connected studio setup for the EX3. I also saw the B4-mount lens adapter for the EX3.

Tuesday, September 30, 2008

Review: Sony PMW-EX3 Removable-lens 1/2” 3-CMOS HD Camcorder

Adam Wilt | 09/30- 05:41 PM

Under the skin, it’s an EX1. But goodness: what a different skin!

The US$8320 (street price) Sony PMW-EX3 is an eight-pound, high-definition “chainsaw” camcorder with three 1/2” CMOS sensors. It’s essentially a repackaged EX1—true 1920x1080 sensors, 1080 and 720-line XDCAM EX recording on SxS cards, variable frame rates, wide-latitude cine gammas, hugely tweakable—with an interchangeable lens mount, an impressive EVF, and improved ergonomics. Like the EX1, it makes stunning HD images, and like the EX1, it’s a handheld handful.

Monday, September 29, 2008

I Decide: Anatomy of a No-Budget HD Spot

Art Adams | 09/29- 02:35 PM

Wherein a great group of people come together for a good cause

This was the first project shot for California’s No on Prop 8 campaign. In an attempt to reach out to young voters I recruited my cousin Catherine, and her best friend Austin, to record an appeal for youth to get up and vote down Prop 8. They’re both politically active and immediately said “yes” to the project.

Sunday, September 28, 2008

The Thorons: Anatomy of an HD Spot

Art Adams | 09/28- 05:12 PM

If you live in California you’ve probably seen this already. Here’s how we did it.

I shot this spot a few weeks ago and it hit the air in a big way on Sept. 22.

Saturday, September 27, 2008

Why “Exposing to the Right” Works on the RED

Art Adams | 09/27- 09:14 AM

This white paper from Adobe explains it all without making my eyes bleed.

There’s been a lot of talk about “exposing to the right” in the RED community: instead of relying solely on your meter, the idea is to watch the RED’s histograms and use whatever room is available on the right side. If your meter says to shoot at 2.8, and there’s nothing hitting the right side of the histogram, open up the stop and move all the values over until something clips or you run out of stop.

I did this on my last two RED shoots and it worked great. Using REDSpace as my color and gamma preset allowed me to see more-or-less exactly how the image would be seen once processed using those settings in post, and by setting the zebras to come on at their maximum of 103 (I assume that’s 103 ire on a scale of 0-109) I could use them the same way I would on any other HD camera. Processing the footage through RedRushes using the REDSpace preset resulted in images that were very close to what I saw on location while still offering me all the grading latitude that I’d expect from RED raw footage.

This white paper on Adobe’s web site explains what “expose to the right” is and why it works. I highly recommend it.

Sunday, September 21, 2008

Review: Panasonic AG-HPX170P 1/3”, 3CCD P2 Camcorder

Adam Wilt | 09/21- 06:39 PM

The P2-only HPX170 is a multitalented, smooth operator with improved picture quality.

The Japanese word “kaizen”, usually translated as “continuous improvement”, applies to Panasonic just as much as Toyota. Just as the HVX200 built on the success of the standard-definition DVX100, adding multiformat recording and multiple frame rates, the HPX170 takes the best features of the HVX200 and builds on them. The 170 makes a better picture. Added functionality, like HD-SDI, more frame rates, and Dynamic Range Stretch, makes it more versatile. Its lighter weight, refined ergonomics, and built-in waveform monitor make it an operator’s delight.

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