IBC 2014 live show replay: SmallHD DP7 Pro live in-monitor colour grading run through

By technical editor Matt Allard:

On the Newsshooter/Teradek live show at IBC last week I sat down with Dale Backus from SmallHD for a walk through of their new live grade feature for the popular DP7 Pro monitor series. The monitor which was introduced some time ago has received multiple firmware upgrades adding new features. The last major upgrade added support for loading of look up tables (LUTs) to allow viewing of Log material with a specific ‘film look’ applied. The latest firmware allows you to tweak the image on the monitor and then save the corrections as a LUT for use by the editor or colourist.

The DP7 Pro can load and save LUT information to SD cards

The DP7 Pro can load and save LUT information to SD cards

This technology should bring on set colour management into the reach of smaller productions and even some documentary shoots – where the director or producer would like to view an image that is close in look to the final output.

Watch the video to see how it works. You can find out more on

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Posted on September 23rd, 2014 by Matthew Allard | Category: IBC show, Monitors | Permalink | Comments (0)

IBC 2014 video: Tokina update on the progress of their rain dispersion filter

By technical editor Matt Allard:

Tokina have developed a hydrophilic coating for lens filters that dramatically reduces the effect of water falling on the front element of a lens. We first saw it as a prototype a year ago at IBC 2013, but since then it has been refined and is close to being ready for market.

We were told they hope to start shipping finished filters in February 2015. Initially the product will be available as part of Tokina’s protective and UV filter ranges, in screw-in sizes from 77 to 127mm as well as square formats.

I’m predicting that if this filter proves to be both tough and optically good, then it will sell in huge numbers to news shooters.

Posted on September 23rd, 2014 by Matthew Allard | Category: Filters, IBC show | Permalink | Comments (0)

IBC 2014 video: G-technology shows giant 64TB G-Speed Studio XL RAID drive

By contributor Clinton Harn:

It seems that hard drives fill up very rapidly these days thanks to the move towards higher quality, less compressed HD video files, as well as 4K.

A big project may take several terabytes and organising those files if they are not in a single place can be awkward. Working with larger files also requires faster drive speeds if you want to keep your editing running smoothly.


The latest G-technology RAID drive aims to solve these issues for many users. The G-Speed Studio XL is a sleek black cylinder that takes eight drives, each up to 8TB – giving a maximum storage capacity for the Studio XL of a whopping 64TB. It has dual Thunderbolt 2 connections and can pass data at a blazing 1350MB/s.

Like other G-technology RAID solutions it uses enterprise class drives for improved reliability. Capacities start at 24TB and go up to the full 64TB.

State of the art storage like this doesn’t come cheap though. A 24TB G-Speed Studio XL starts at $3599.95, rising to the 64TB version which costs a not inconsiderable $6999.95 US.

For more info on G-technology’s range of hard drives go to the G-technology website.

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Posted on September 23rd, 2014 by Clinton Harn | Category: hard drives, IBC show | Permalink | Comments (0)

IBC 2014 live show replay: Philip Bloom talks about shooting documentary for CNN

By site editor Dan Chung:

Philip Bloom has recently been travelling the globe as DOP on an upcoming documentary series for CNN. On the Teradek/Newsshooter live show at IBC last week Matt Allard and myself had a chance to sit down and discuss the challenges with him.

Phil's A-camera of choice for the CNN doc was the Sony F55. Photo courtesy of Philip Bloom

Phil’s A-camera of choice for the CNN doc was the Sony F55

Among the topics covered were what it was like for him to go back to shooting broadcast TV, his choice of cameras for the series and his use of the MoVI. Philip also talks about the importance of good audio (ironically we had a few audio interference issues during the chat – apologies for that).

Hopefully it won’t be too long before we can see the fruits of Phil’s labours on CNN.

Sony cameras including an a7S on a MoVI ready to shoot. Photo courtesy of Philip Bloom

Sony cameras and a MoVI ready to shoot. Photo courtesy of Philip Bloom

Photo courtesy of Philip Bloom

Photo courtesy of Philip Bloom

Posted on September 22nd, 2014 by Dan Chung | Category: Brushless gimbals, documentary, IBC show, Journalism, Sony a7S | Permalink | Comments (0)

ARRI go large – New Alexa 65 shoots 6.5K with a sensor about three times bigger than Super35

By site editor Dan Chung:


There had been rumours but today we got the confirmation. ARRI have built a super large sensor 6.5K version of the Alexa. The sensor is slightly larger than a 65mm 5-perf film frame and is comprised of three Alexa sensors that are arranged vertically and seamlessly stitched together.

The new rehoused Hassleblad lenses

The new rehoused Hassleblad lenses

The camera uses rehoused Hasselblad medium format lenses that cover the sensor and are of the highest quality. The lens mount is a larger PL type.

The giant Alexa 65 sensor

The giant Alexa 65 sensor


The camera records in the ArriRAW codec to Codex XR drive cartridges as used by the current Alexa XT.

The body is similar in length and ergonomics to the original Alexa but has a wider body to accommodate the larger sensor.


If you are itching to pull out your credit card and buy one – you can’t. For now at least this camera is only available as a rental from ARRI.

For the full scoop and lots of technical info its is well worth heading over to Jon Fauer’s Film & Digital Times.

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Posted on September 21st, 2014 by Dan Chung | Category: Arri Alexa | Permalink | Comments (0)

Shooting with the Sony PXW-FS7 – Jason Wingrove gives his first impressions

Guest post by Jason Wingrove:

Just this morning from Jason Wingrove on Vimeo.

What better way to assess a camera than the standard Wingrove ‘test chart ‘of a Sydney Ocean pool pre-dawn – with less than twenty minutes to get to know the new camera in your hand.  

In the scene you have artificial light that changes into low light, then a very contrasty sunrise. You’ve got humans in motion and lots of finely detailed water sand and waves (all good slow motion test fodder too) Completely unscientific I know – but a great quick test of how a camera is to use with minimal training, how it is in the hand, on the shoulder or on the deck. How it is using the EVF, or just the LCD and how the sensor handles blinding sun.

‘Just this morning’ is purely a string of shots I captured with Sony’s new PXW-FS7 camera.  As a Sony F5 owner I was a little worried this new camera might have just devalued my investment.  

What I’ve been looking for for some time is a great run-and-gun camera that I can use for some of my more narrative, documentary style work. I want a robust codec, great dynamic range, ergonomics, proper audio controls and XLR connections, slow motion with minimal compromise. On top of all that I want it to give me access to the full frame look – the one I fell in love with at the start of the DSLR revolution. The FS7 seems to provide all that and then some.  

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First impressions: 
It is a solid, compact design – no creaky flimsy plastic here. It has weight but is not too heavy. I reckons its heavier than an FS700 and with its compact EVF and a battery fitted it probably weighs the same as the bare body of a F5. It doesn’t matter what its made of, Sony have done a great job of making this camera feel up to the job.  

The rear of the camera showing the BP-U type battery slot

The rear of the camera showing the BP-U type battery slot

The EVF, its mounting system, optics and flexibility are all great. Battery life seemed typical of cameras like this – after keeping the camera on and shooting solidly for a couple of hours the BP-U60 battery (same as Sony’s EX1 and PMW200) showed 75% still remaining.

The FS7 control grip can be rotated to your desired position

The FS7 control grip can be rotated to your desired position

The grip remote control will suit most people, I never quite got comfortable with it but ergonomics is a very personal thing.  I’m sure once you get used to the grip the convenience of being able to access menus, start/stop and servo zoom (with the coming 28-135mm zoom or older 18-105 and 18-200 PZ lenses) will outweigh any comfort niggles.  The in built ND filter is something as an F5 owner I’ve come to rely on, the FS7’s system perhaps is even better.  A very solid control with three stages of ND rather than the F5’s two. 

During the test I largely used the camera in waist height mode, just using the LCD rather than with the VF loupe. Simply hanging the camera from the very comfy top handle and using the very convenient handle mounted run/stop button. 

Of course there is the usual overcomplicated Sony menu system, especially tricky to navigate when it comes to slow motion, ISO and white balance. That said anyone coming from the video world will be very much at home. Shooters with more of a film / DSLR / Alexa background.. well you have some reading up to do. Like most cams though I think that once you’ve had some time with the camera you can set it up just how you like – the menu can largely stay out of your way and you can concentrate on shooting.  

The FS7 with Sony's own 70-200mm lens

The FS7 fitted with Sony’s own 70-200mm lens

The FS7 is a camera to suit doco / run-and-gun or wedding work. It is built to be easy to travel with and you can pull it out of the box and be ready to shoot in minutes without any extra accessories. It’s a lot of camera for the money and will kick quite a few cameras to the kerb and steal their lunch money. That said this is one camera that I think you need to spend some time with before ordering, especially if your currently an F5/F55 owner. Beg, borrow or steal one and go spend some time with it before you sell what you currently have. Not because it might replace it but because it may compliment it – I’m looking at you F5/55 owners.

Lenses I used for the shoot are my personal ones – Dog Schidt Optics 2X Oval iris modded Contax 35mm, 50mm, 85mm. Canon tilt-shift 45mm and the always impressive Rokinon cine 14mm.  All mounted on a Metabones EF to E-mount Speedbooster for the full-frame field of view look. I shot mainly in 4K UHD at 50fps and 1080 HD at 150fps. S-Log3 was the only picture profile used.

Jason Wingrove is a Sydney based freelance Director & Cinematographer specialising in long form narrative TVC’s & high end corporate films. You can see more of his work on his website

Posted on September 20th, 2014 by admin | Category: Sony FS7 | Permalink | Comments (0)

IBC 2014 video: Nexto DI NSB25 Storage Bridge for robust field backup and playback – CFast, Red, Sony and AJA supported

By technical editor Matt Allard:

Nexto DI’s new NSB25 Storage Bridge is a robust option for making backup copies of media when on location without a laptop. It is also a playback device with a high quality 5” TFT-LCD 800 x 480 touchscreen that can be used to view most popular codecs.

Caddies are included for two standard 2.5” SATA drives which mount internally, and a third drive can be added via USB3. Memory card inputs are also modular and the unit will accept a wide range of codecs recorded on practically any kind of media. Red, AJA and Sony proprietary card formats as well as CFast are supported.


32GB of data can be backed up onto three drives in about five minutes and the bridge can be powered by any 6-24V DC power source.

A kit including two memory modules is expected to retail for $2400, shipping in November this year. For more info head to the Nexto website.

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Posted on September 20th, 2014 by Matthew Allard | Category: Storage | Permalink | Comments (0)

IBC 2014 video: Varavon Wirecam flies through the air for $7000

By contributor Clinton Harn:

Motorised remote control cable cams used to cost big money and were strictly limited to big movies, commercials and sports productions. Some budget limited shooters resorted to DIY solutions in the past with varying degrees of success. Now there are several lower cost commercial options that not only move the camera through the air, but also stabilise the camera by adding a brushless gimbal head to the setup.


Korean maker Varavon, best known for its sliders and camera cages, have ventured into the cable cam market with their $7000 Wirecam Cam setup. Wirecam was first seen in prototype form a year ago at IBC but is now much closer to being a finished product. It is remote controllable and uses Varavon’s Birdy Cam brushless gimbal as a remote head. The results looked impressive. Check out the video to see it working.

As the prices come down and these setups make it onto the shelves of rental companies I can see this technology being used more in documentary and events shooting to get that one off shot.

The Wirecam is slated to be available from November at a cost of around $7000. You can see more details on the Varavon website.

Posted on September 20th, 2014 by Clinton Harn | Category: Brushless gimbals, Camera stabilsation systems, Camera support systems, IBC show | Permalink | Comments (0)

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