Guest post by Kim Beamish / edited by Mat Gallagher
Kim in action with the AF101
Half way through 2012 my wife and I moved to Cairo, Egypt for her job. I was excited by the possibility that there was, and still is, so much interesting stuff happening after the 25 January revolution. Before I left I decided to set myself a challenge. I would move away from Sony cine cameras and towards a system that gave me greater control over what, and how, I was shooting. I wanted to choose the lenses and tell the story through the shot, using what was becoming hallowed ground, depth of field.
I started looking at everything being shot on the Canon EOS 5D and EOS 7D, films such as Danfung Dennis’s film ‘Hell and Back Again’, and even ‘Indie Gamer’ which is possibly less cinematic but just as absorbing. I started to have rather grandiose ideas of shooting with Egyptian activists as they continued the progress of the revolution. Of working almost clandestinely on stories that would show the workings behind those who had built the momentum behind the so-called Facebook revolutions here in Egypt, and following the story further into Libya, Tunisia and Palestine.
I liked the idea of something that had a great picture but could pass as a tourist camera in situations where a larger rig may be too intrusive. I knew what I wanted, I had justified it in my head and I was ready to sell my car and gear up.
When friends of mine got a Canon 7D and a 5D with a big rig, it gave me chance to give them a whirl. The rig on the 5D was bigger and heavier than anything I had used and instantly put me off. I loved the image and the range of lenses but once I had assembled the camera to shoot video and worked out a way of capturing audio, it became cumbersome and awkward to use. I didn’t feel comfortable and everything seemed to be in the wrong place, which it was. Perfectly set up for a photographer, not for a videographer.
I set up the Canon 7D so as to record audio externally, via radio mics to an H4n Zoom and just had the camera in hand, sans rig. It felt light and worked OK, but still felt odd. I couldn’t get my head around where things were and the ND filter issue became a big one. In the space of two small shoots I had destroyed my dreams. I didn’t really like either camera or the rigs, which seemed to just get bigger, more awkward and intrusive.
I wanted to be able to interchange lenses, I wanted the larger chip for the image quality and depth of field but I just wanted it in a video camera. Then I read the article by Sky News Beijing Bureau Cameraman Andy Portch on a year with the Panasonic AF101 and GH2 cameras. I was in love. The AF101 had everything I wanted: XLR inputs for audio, ND filters, it worked the same way as cameras I was used to, if I set it up right, and it had the ability to take photographic lenses giving me that hallowed depth of field. No one I knew had one, and I only had weeks before my departure to Cairo, so I bought it.
Andy Portch of Sky News with his Panasonic setup
When the box arrived, I freaked out. Now, I can blag my way through a conversation about formats, apertures and f-stops but, really, I’m almost all Auto. After confirmation of the order came through, I thought, ‘what the hell have I done?’ I am no cameraman, or at least not trained as one. I didn’t know how to use the AF101 and it doesn’t even have any auto features I can use once I attach Canon lenses to it.
I thought about sending it back, saying there had been a mistake. That what I really wanted was a Sony Z1 or something like it. Instead, I sat down, had a beer, stared at the box and eventually stood up and said, “Stuff it. I’m doing this”. I decided to learn everything there is about this camera so I could shoot some great footage, and hopefully a great film.
Cairo is a crazy place, especially when you first arrive. Nothing happens the way you think it should and everything takes more time. There is a lot of noise and it is not always easy to get your bearings. That is also how I felt about my new camera. Nothing happened the way I thought it should, everything took more time and initially I couldn’t find anything I was looking for. I was, though, determined to make it work. It is not an easy camera to use, not for me anyway. First of all I had to find a way of using my Canon lenses. I was loath to buy Panasonic lenses, as now I was broke. So I eventually fell upon the LiveLens MFT Active Lens Mount by Redrockmicro, which easily mounted my lenses and gave me some Iris control. I spent the last of my budget on a wooden handle by WestSide AV, also mentioned in Andy’s article.
The Redrockmicro Live lens adapter to use EOS lenses on the AF101
After six months of shooting I now know where everything is on my camera. It still takes me longer to shoot but that makes me concentrate more. After some adjustments, things are almost all in the right place. I bought a Kinotehnik EVF after finding that I was having focus issues using the built in EVF on the AF100. Again, my decision was made after reading the review by Matt Allard. Another Westside AV rig was purchased to mount radio receivers. I have up to three mics running at any one time and have found the best setup is to run them all through Sennheiser G3 Radio mics. I have lapels running into the AF100 and the RODE NTG1 shotgun running in to an H4n Zoom I have slung over my shoulder for folly and atmos.
In Cairo I didn’t find my revolutionaries, start shooting clandestinely or even taken my camera into Palestine or Libya. Instead, I started shooting a small street of traditional textile workers in Old Islamic Cairo, in a place called Chareh El Khiamiah. This 900 year old art form is now suffering a loss of new stitchers, buyers and tourists after the revolution of the 25 January 2011.
I have a long way to go before I know everything about this camera. However, I am getting some great footage, and feeling more comfortable every day. I have a new way of working, which makes me think a lot more about what I am doing, and will hopefully allow me to create a more professional looking film.
The teaser for my documentary film, The Tentmakers of Chareh El Khiamiah, is a rough edit. It introduces Hosam El Farouk, one of the characters as he talks about his life, the street and about the Tentmakers of Cairo. We are now into the final stages of a crowd funding campaign being run through http://pozible.com/tentmakers and would very much appreciate your support to take production to the next stage.
Most real world shooters can only dream of filming their next project on an Arri Alexa. But for those lucky enough to work on these cameras Arri have announced a refresh that should help on high end documentary projects. The Arri Alexa XT (Xtended Technology) is a range of cameras that adds an in-camera ND filter module, meaning you can shoot without an external ND filter on the lens in bright conditions. All XT models also add in-camera ARRIRAW recording using a new XR module.
The cameras have a 4:3 aspect sensor that is perfect for Anamorphic lens users or for reframing an image in post production if you are shooting standard aspect ratios.
I have not seen pricing on the cameras but don’t expect them to be cheap. I certainly can’t afford one.
Existing Arri Alexa owners can get many of the features of the new XT models by purchasing the relevant upgrades.
This is the press release from Arri: FOR IMMEDIATE RELEASE
(20th February 2013, Munich) – With the ALEXA XT cameras (Xtended Technology) ARRI is refreshing its ALEXA product line, incorporating new features inspired by feedback from professional users. The ALEXA XT, ALEXA XT M, ALEXA XT Plus and ALEXA XT Studio cameras will replace all previous models except for the original ALEXA. Owners of existing ALEXA cameras will be able to purchase individual upgrades that deliver most of the features of the XT configuration.
Faster and more affordable ARRIRAW
All ALEXA XT models come with the new XR Module, a side panel that was co-developed with Codex to replace the previous SxS Module. The result is a smaller, lighter, more affordable and cable-free camera package that records ARRIRAW, ALEXA’s highest quality image output, inside the camera. ALEXAs can now capture ARRIRAW up to 120 fps onto exceptionally fast and rugged 512 GB XR Capture Drives. In addition to ARRIRAW, ProRes or DNxHD can also be captured to the XR Capture Drive for significantly longer recording times as well as ProRes 4444 recording at 120 fps. With an SxS Adapter it is possible to record ProRes or DNxHD to a single SxS PRO card, thus protecting the inventory of existing cards. The XR Capture Drive offers a number of different paths into post, using proven Codex workflows.
Less weight and easier working with internal NDs
The In-camera Filter Module IFM-1 allows ALEXA XT models to be rated at the base sensitivity of EI 800 without the need for external Neutral Density (ND) filters, even in bright sunlight. Filtering behind the lens rather than in front saves time and reduces weight, reflections and operational complexity. The Precision IRND filters used with the IFM-1 are based on innovative technologies that assure highest image quality and perfect color balance at all of the eight available densities, from ND 0.3 to ND 2.4.
True anamorphic with a 4:3 sensor
For the most effective use of anamorphic lenses, each ALEXA XT model is equipped with a 4:3 sensor, the same size and shape as a Super 35 mm film frame. This is crucial for delivering the unique and cinematic widescreen look that can trace its origins back to the CinemaScope films of the 1950s. It is a look that has long been appreciated by cinematographers, directors and the viewing public. An anamorphic de-squeeze license is included with all XT cameras, as is a high speed license for filming at up to 120 fps. The 4:3 sensor will also be useful on non-anamorphic productions as it permits significant reframing of the image in post, similar to shooting 4-perforation 35 mm.
More efficient VFX through ubiquitous lens metadata
Lens metadata is invaluable for a speedy VFX post workflow, which is why all ALEXA XT models are equipped with an LDS lens mount. The ARRI Lens Data System (LDS) reads the position of all lens rings and writes them into metadata in every format ALEXA can record. Over 41 lens models have LDS built-in, including the ARRI/ZEISS Master Anamorphic, Master Prime and LDS Ultra Prime series, the Master Macro 100 and the ARRI/FUJINON Alura Lightweight Zooms. For all other lenses it is possible to store the lens table inside the ALEXA by using the Lens Data Archive feature.
Comfort and flexibility in viewfinder mounting
To provide maximum comfort for the operator, the new Viewfinder Mounting Bracket VMB-3 has a much stronger and more rigid design, partially achieved through the use of two 15 mm lightweight rods. These rods also facilitate rapid changes in camera support, i.e. from a tripod to a crane or Steadicam, since accessories such as lens motors or follow focus units can be hung from the rods rather than cluttering up the base plate. Also available as a separate accessory is the new Viewfinder Extension Bracket VEB-3, with a fold-out arm that holds the viewfinder securely in place when moving the camera.
Super silent XT Fan
ALEXA cameras are already among the quietest digital cameras, but an even quieter fan has become available and ARRI has incorporated this new fan into the ALEXA XT models, providing an extra safety margin in very quiet or very hot environments.
Future proof – upgrades for existing ALEXA cameras
The ALEXA system was designed for professional customers, providing high build and image quality, but also modular upgradability and long product cycles to ensure a solid return on investment. Having already released various upgrades, licenses, options and free-of-charge Software Update Packets, ARRI is now offering upgrades for existing ALEXAs that provide most of the functionality of the XT cameras. These upgrades include the XR Module, In-camera Filter Module IFM-1, Viewfinder Mounting Bracket VMB-3, Viewfinder Extension Bracket VEB-3, XT Fan and the anamorphic de-squeeze and high speed licenses.
The results of this year’s multimedia category of the World Press Photo awards which we reported a couple of weeks ago have once again sparked a lively debate. We asked some of our regular contributors for their reactions, including Duy Linh Tu, head of Digital Media at Columbia University Graduate School of Journalism, DJ Clark, director of Multimedia Journalism at the Asia centre of Journalism and course leader on the MA International Multimedia Journalism at Beijing Foreign Studies University, Sharron Lovell, multimedia journalist and lecturer on the MA International Multimedia Journalism at the Asia centre of Journalism, Jonah M. Kessel, multimedia journalist for the New York Times in Beijing, and our very own Dan Chung.
First prize in the Online feature category: Too Young to Wed. Executive producer, photographer and additional videographer: Stephanie Sinclair, VII Photo Agency. Director and cinematographer: Jessica Dimmock, VII Photo Agency. Production supervisor: Alina Grosman. Production assistant: Tesfaye Almnew. Translator: Simengnish Yekoye
What did you think of the winners; the overall quality, the technical quality and story?
Jonah Kessel: There’s no real difference between the online story and the feature story, apart from duration. Even then, the features are a minute longer, two minutes longer. Dreams of Freewheelers (third prize in the online feature category below); that one is actually a little different. The other five winners are all a formula. You don’t see any live action. It’s literally an interview – half the time a single interview – followed by representative imagery. It’s a very basic formula and, to me, that shows almost no originality or storytelling.
I can go to Vimeo any day of the week and find much better productions from independent filmmakers or do-it-yourself filmmakers, people that aren’t even filmmakers. They opened the door this year, which was really great. They allowed for content that didn’t have to have stills. But they are obviously favouring productions with stills. The formula is, ‘Okay, lets interview somebody on video but then show still pictures of things because we’re actually still photographers and we’re being forced into a multimedia world and it’s easy for us to turn on our camera and record a conversation’. The visual story doesn’t segment; there’s no sequencing. There’s one scene, in ‘Dying for relief’, where we see a guy take a puff of a cigarette then put the cigarette on the ashtray. In the first five videos, that’s the only time where I saw a sequence, and for me that doesn’t show thought. If we’re just seeing random pictures, and hearing words, it’s like an audio slideshow.
Duy Linh Tu: First, it’s always great when visual journalists are honoured and recognised for their commitment to the craft. It’s obvious that the winners in all the categories are first-class photographers. They know how to make pictures. However, I come from a narrative documentary background, so seen through that lens, these pieces do fall short in terms of story. Many of these pieces rely too much on the very stale technique of interviews covered by great photography or b-roll. These pieces lacked scenes and true narratives; I saw no change over time, no drama, no reveal, no resolution.
DJ Clark: The overall quality of the winners is better this year. There is still clearly a long way to go for photographers to match their documentary film counterparts for video technical quality and story, but they are going in the right direction.
Sharron Lovell: I think WPP’s multimedia awards are still in an awkward stage and position. As a practice, multimedia journalism is fairly simple to define – using multiple media to convey stories and information. As a project or package things get trickier. With the exception of the interactive documentary section, the WPPawards feel like a multimedia award targeted to a generation of traditional photojournalists who also shoot video with their cameras. Categories need further clarification and participants need to be drawn from wider disciplines to drive quality and make the awards really credible.
In terms of the aims set out by the category awards (news value, storytelling and narrative and strong visuals) winning entries came in a mixed bag. The online short winner “Into the Shadows” had strong visuals but little else. I liked the shorts second place “Living with a Secret” for its original, interesting topic, which was thoughtfully relayed. However, for me it did miss the crucial voice of the main character to really take it to the next level of my understanding the issue. “Too Young to Wed”, the online feature winner, is fantastic; I can forgive less than perfect video technique for intimate insight into an important story. There’s depth and intimacy, and a candidness of interview that only comes with a lot of hard work; this story has a nuance and respect that blasts through the usual stereotypes. “Bitter Pill” was also a favourite; again, the topic was really newsworthy and, even though it’s not entirely new, it was told in an original way that for me had impact.
Dan Chung: I wouldn’t want to take away from what the winners have achieved; there is some great work. Especially the interactive category. I’m not saying the other work is bad, far from it, but I find it incredible to believe that in the great wide world out there, that this is the best. I think technically there are major issues with most of the pieces, if not all of the pieces.
Does the technical quality of the video matter for this award? Should WPP be awarding work that has mediocre video?
Jonah Kessel: At a certain point, it doesn’t matter if your video is technically sound; you can still make an impactful video. However, as a society rewarding multimedia pieces, it does matter.
A multimedia piece given an award should have excellent story, excellent technical ability, it should be creative, everything should be there. Leaving out the interactive stuff for now, these six pieces are, technically speaking, not so hot. They all look super digital, there are overexposure problems, the audio’s crap, I can hear the camera moving sometimes. All the shutter speeds are up at 1/2000th half the time, there are no ND filters used. Does this matter to the audience? To me it makes them not look like film. It’s taken me years as a visual journalist to get to that point where I really see a difference in videos, where people are actually using the 180 degree rule, where people are using techniques that make the 5D useable. These people aren’t paying attention to the technical stuff. Why are these winning? They all have merit for sure, but are they the best in the world? Not even close!
In every example all we see is someone doing an interview and later in time piecing it together, except for the Chinese production from Southern Weekend (Dreams on freewheels). This was by far my favourite and a lot of it was because you felt like you were there. You see the coach talking to the people, then you combine that with interviews, and you show these characters. It was the only one which had a narrative, it was the only one which had sequencing.
Duy Linh Tu: “Multimedia” is a funny word. It has been co-opted by many to mean photos mixed with audio and sometimes video. But for the average viewer, when they hit that “play” arrow, they expect video. Viewers don’t make distinctions about what cameras were shot, what techniques were used, etc. They expect a video that plays with audio and motion images. WPP should have paid more attention to the video aspect of these productions. In many cases, the shooters were still making classic HDSLR mistakes such as shooting everything at F/1.4. But a bigger crime, in my opinion, was that these moving images did not add up to meaningful sequences or scenes. In most cases, they were merely extended stills; i.e. photos recorded for many seconds instead of a moment.
DJ Clark: World Press Photo has always existed to support, showcase and reward photojournalists. Increasingly photojournalists are being asked to shoot video, as well as or instead of stills, and many are finding the transition difficult. In that context I think it is appropriate for WPP to award photographers who are making a go of that transition. As for the video quality, it’s difficult to call without seeing all the entries.
Sharron Lovell: Yes, the video work does seem poor and quite disappointing. I think multimedia productions, of the type WPP are aiming to award, offer opportunities for shooters to break out of traditional news video moulds and to be more creative and experimental. However, we are seeing a lot of tradition breaking but little of anything thoughtful or crafted replacing it.
Dan Chung: There are clearly rules by which you win the WPP photography competition, which require, not technical perfection, but an understanding of the aesthetics; an understanding of position; the understanding of the significance of your subject and their story, and its place in the world; and the fact that you’ve conveyed that in a way the audience responds to. Those criteria are not met when they move it into the multimedia space. So, certainly the video element is quite often not aesthetically verging on perfection. It’s not journalistically, in terms of storytelling, verging on perfection. It isn’t necessarily of the moment, in the way the spot news categories of the World Press are. I didn’t see any significant moment in time or in multimedia – a little in the Chinese piece – and I think if you pull all of that together, what you end up with is a competition that doesn’t celebrate, in multimedia, the same ideals that the competition celebrates in photo. Technical ability or at least recognition of elements, such as composition, light and shade, and everything else we talk about as photographers, are supremely important in the World Press. Occasionally they award a great bit of citizen journalism but on the whole the winning entries, most of them, are really good sound pieces of creative photography, and that’s just not true in multimedia. I fail to believe that it doesn’t exist. It does; we look at it every day. So the question is either how is it judged or who is entering? And if they’re not entering, why not?
Other discussions are over whether the Aleppo Battleground piece, by Jérôme Sessini of Magnum Photos for Le Monde, should win given that it shows a photographer taking clear risks. Are WPP right to do that?
Jonah Kessel: I don’t have a problem with photographers taking risks. I have a problem with them awarding this piece. I can show you ten other examples of multimedia done there that are better and show a greater understanding of the issue. We all know that that as a photographer in a war zone, you’re putting yourself at risk. That’s not new, that’s not news. Strapping a GoPro to your head, it’s a one button operation, and maybe you’re going to photograph your own death but that’s it.
This is the point of the contest – to show multimedia, and how it’s making the world understand things differently and better. This helps us understand the journalist’s job, and maybe you can say that’s part of it, but I think it’s almost insulting to the other journalists in Syria, to give an award like that.
Duy Linh Tu: I think this piece was great in that it showed exactly what a photographer sees and goes through. The story was one about war photography, not the war itself. So, I think it was fine for WPP to give this piece the award.
DJ Clark: I would have fought against this decision, had I been on the panel. I don’t think the WPP awards should be about the photographer.
Sharron Lovell: I think photojournalism awards have, in general, evolved and encouraged photographers to take risks in conflict zones, particularly younger photographers trying to make their mark. Maybe we don’t usually see the back story in such a clear light as in this production but the seduction is still there. So, in that context I don’t see this award as any more worrying than any others.
Dan Chung: I have an ethical problem with it. We are supposed to be encouraging journalists, photographers and cameramen to act responsibly in these situations. Whilst we all realise that stuff like that goes on, that particular video shows the photographer basically doing everything we are told not to do on a hostile environment course. Nobody on any of those courses is going to tell you to go and stand in an exposed position where people are getting shot at by snipers with nothing in front of you. There’s clearly no barrier in front of him because the GoPro is strapped to his chest and he’s not hiding behind anything. So he’s at least up to mid-level with no cover. It may be the only way to get that shot but then a) should newspapers, magazines, websites, be encouraging people to do that? and b) surely we’re encouraging more people if we award people doing it?
First prize in the online short category – Into the Shadows. Photography, direction and camera: Pep Bonet. Producer, script and interviews: Line Hadsbjerg, Remarkable World. Sound designer, music and multimedia editor: José Bautista, KanseiSounds.
WPP seem to be awarding work from teams, less individual work. Is that the right way for them to go?
Jonah Kessel: I think that’s probably a good thing. As a team you have the ability to do things you can’t as an individual, however, there are plenty of individuals doing solo work that is better than this.
I don’t know that making categories based on the size of team would work. I think an individual can do something a team can do and I don’t think you should be penalised for having a big team. Look at all the big contests open for multimedia – POYI, BOM, WPP. You’re seeing much better content coming out on Vimeo than in any of these contests: story-wise, technically speaking, all across the board. The problem with all of these contests is the categories. I made 40-odd videos last year and logistically I was only able to submit three of them for BOP – the others didn’t fall in to a category that wanted them to be there. If you’re running a contest and you think what a broadcast journalist does and what a paper/multimedia person does is at all similar, you’re wrong. I mean look at the products.
Duy Linh Tu: I come from a long-form, narrative documentary background and I am very comfortable working in teams. In fact, I think my best work comes from working with others with a shared vision. Obviously, with economics being a factor, not all projects can afford to have several people working on it. I think WPP should award the best project, regardless of whether it was produced in teams or solo.
Sharron Lovell: A single operator would be a valuable category, but I don’t see why teams shouldn’t be a main part of the general awards. May the best work win, whether created by a team of single operator.
Dan Chung: I think ultimately you should just reward on merit and how good the finished piece is. As a competition though, it clearly isn’t fair to have somebody with no resource, no money, up against a team. In the photo competition the stills camera is a great leveller. As long as you’ve got to the place, and somehow funded your way to Aleppo, it doesn’t matter whether you work for Time magazine, or Newsweek, or off your own back. Your chances of winning are really just down to that moment – and yes it takes money, but not as much as much as it takes to put together a five person multimedia team, or a ten person team with a sound man. There’s nothing wrong with having pieces that do that but pitting them against the solo team is a dilemma and I would probably steer towards having a category for solo or two person productions.
Are we basically saying multimedia that wins awards needs heavy production? Should there be room in WPP for simpler works? less narrative?
Duy Linh Tu: I think these awards actually need to be judged on an even higher level. I’ve judged other multimedia contests and I see this phenomenon over and over again: photojournalists who shoot photos, record some interviews, and then throw the two together and try to sell it as a narrative. I don’t think pieces need to be Hollywood-quality to win at WPP. But I think WPP really needs to separate the multimedia prize from the stills categories. Stills capture the moment, or a series of moments. Video should tell a true narrative. The photo world might see “multimedia” as “photo + audio,” but the world sees it simply as video.
DJ Clark: I understand they need to reward the best productions out there but I wish they had a place for the individual photographer covering daily news assignments. I would guess 90% of multimedia assignments carried out by photojournalists are done alone, in the space of one or two days – shot, edited, published. There simply is not an economic model for most publications to make the long form piece created by a team viable. Without this category they discourage the vast majority of photographers to enter, and in doing so lose the magic of the all-inclusive WPP Awards. When I questioned them about this, they said that was the purpose of the online short, but few people had entered as solo productions.
Sharron Lovell: Again, I think there’s room for everything, with clearly defined categories and I think single operator categories would be valuable. Multimedia journalism is produced both by single operators and teams and both can be fantastic. If WPP awards are to be in tune with the reality of MM working practice they should include both.
Dan Chung: Is this an award for the multimedia that photojournalists create or is it an award for multimedia of a certain genre, as defined by World Press? It turns out that, certainly from my conversations with World Press, it’s the latter. So quite often it’s those large teams working at newspapers and agencies to create something that honours the photo more than anything else and is quite often not technically perfect in other ways. That’s basically what the WPP seem to be awarding, as opposed to recognising the trends, certainly amongst newspaper photographers, like myself and Jonah, who are multimedia in the fact that we shoot multiple mediums on a specific job. Our actual finished product is normally one or the other – either moving or its still. The two are not generally intertwined. We are multimedia journalists, shooting multimedia on assignment, as photojournalists, and that’s the big difference I think. That’s not what this is seeking to award.
Should the works have to feature photos? Or should WPP be about the kind of work photojournalists do? Many shoot video-only assignments
Jonah Kessel: If they want to have an audio slideshow category, fine, but it’s stupid to try and mix it with video. Almost never do I put a still photo into a video unless that video happens to be about the still photograph. It disrupts the flow and makes the video worse. There are a couple of instances where it can be appropriate but usually, as in these cases, they are doing it as a crutch because they don’t have the video.
Duy Linh Tu: Awards are designed to celebrate great work, but they are also equally responsible for setting the agenda. WPP is photo-centric, so that’s why these entries feature still photos. But, if they are to really reflect modern photojournalists and their audience, it would be wise for WPP to acknowledge video-only assignments.
DJ Clark: They took out the rule for there needing to be photos, but still most of the winners included stills. Was that because of the way the panel was briefed, or pushing from photographers on the panel or were the video-only stories not as good as those with stills? Only someone who was there could answer that.
Sharron Lovell: No I don’t. If entries have to have still pictures, then I think the awards will serve a tiny, bizarre, elitist niche that stifles rather than promotes creativity.
Dan Chung: There is great multimedia that includes photographs and there’s room for celebrating that. This is WPP’s competition and it is up to them what they want to award but let’s make it clear – this is an award for multimedia that puts photos at the fore, and does not celebrate the multimedia done by the majority of photo journalists asked to do video. But please, at least ensure the other stuff is technically at a level that video people would expect. Just because the photo is the focus doesn’t mean the video work is inconsequential.
What is the definition of love in China? As the country undergoes rapid and massive change, is the concept of love also changing? This is what we wanted to find out when we started shooting the documentary The People’s Republic of Love. But after criss-crossing China and conducting 45 interviews, we had answers to other questions as well. Such as: why would a Chinese TV dating show feature a 48-year-old virgin? How does a Communist government matchmaking agency find dates for secret service agents? Why are Chinese lesbians marrying gay men? And what is the best way to put a GPS tracker in someone’s car?
The genesis for The People’s Republic of Love was a short video about love in Beijing I previously made with producer Connie Young. Connie was a CBS News producer in Beijing at the time, and I’d been shooting a lot of news with her. Strictly for fun, we filmed In Love, In Beijing on a Canon5D mkII over a few weeks.
What is love?
The idea was to ask Chinese people: “What is love?” and then have their answer in hand-written graphics next to them, introduced with an arty b-roll. There were three things I really wanted to do in the video: shoot underwater, show a gay couple, and include someone whose partner had died. We succeeded in all those, even though I had to film the underwater part with a freshly-broken toe, thanks to my dining room table leg!
The project turned out pretty well, but we wanted to do something bigger and full-length. So we teamed up with producer Joe Xu (of ChinaSMACK.com fame), and nine months later we’d wrapped shooting.
I’m a cameraman first, and this is the first documentary I’ve directed. When you let a cameraman be director, DoP and editor, the final product is probably going to be very good visually. That was certainly my aim with this project.
I’ve shot a great deal on 5D mkII and 7D cameras, for clients ranging from CNN to National Geographic. I love DSLRs; their size and form-factor are perfect for shooting in a place like China but unfixable problems like moire and aliasing are a constant issue, as is the soft image. Below is my showreel shot with those DSLRs.
I decided to shoot instead with the C300 because I already had a bunch of Canon lenses, and I needed peaking and zebras. For years I was shooting on full-size ENG cameras, which ALL have peaking and zebras. If you’re shooting a documentary and want your shots to consistently be in focus and properly exposed, you need them. Histograms can help, but you’re going to be slower if you have to check a histogram. For run-and-gun it’s much easier to just see zebras at different exposures, overlaid right on the image.
A lot of international broadcasters won’t accept films made with the 5D. National Geographic and Discovery have rules limiting the amount of 5D footage you can use, and even how you can shoot it. For instance, when I was shooting ‘Green China Rising’ for National Geographic, our B-cameras were two 5D’s and a 7D (the main camera was Arri Alexa). Nat Geo dictated that 5D shooting had to be done on a locked-off tripod but the director was cool and knew we couldn’t always follow the rules. When we were filming deep underground in a coal mine, he wisely chose to put the 5D down there instead of his company’s Alexa. High-end channels want a high-end camera, and the 5D doesn’t always cut it because of its codec.
Shooting the People’s Republic of Love with the Canon C300
The image from the C300 is very, very sharp. So sharp that I didn’t use the 5D as an interview B-camera like I’d originally planned. For the web, you could get away with it but if your film is going to be broadcast and viewed in HD, there are many instances where C300 and 5D will not mix well.
In retrospect, shooting C300 was absolutely the right choice. I like the size of 5D, and I like full-frame much more than APS-C sensors. For me though, the sharp image and professional features, like peaking and zebras, make C300 worth the high price tag.
In part 2, I give my tips for documentary-style shooting with the C300.
Red Digital, maker of the Red One, EPIC and Scarlet, has started proceedings in the Southern California District Court against Sony Corp and Sony Electronics Inc, alleging infringement of two of its patents. As reported by Deadline, Red Digital claims that Sony’s F55, F65 and F5 cameras ‘unlawfully embody the claimed subject matter of US patent numbers 8174560 and 8358357’ without licence. Soon after the launch of the Sony F5 and F55 back in October 2012, Red Digital CEO Jim Jannard took to the Reduser forum, stating ‘these two camera announcements are significant… While I do not see them as a threat to EPIC or Scarlet’ Jannard continued, ‘I do see them as a threat to the conventional and outdated thinking of the industry that tried so hard to cling to “1080P and 2K are good enough”. However, Red Digital’s Complaint that was posted on Deadline, states that ‘Sony’s unauthorized infringing camera sales has resulted in lost sales, reduced the business and profit of Red, and greatly injured the general reputation of Red’.
According to Deadline.com, if Red Digital is successful in persuading the US court that its patents are “valid and enforceable” it wants Sony to stop sale of the cameras and have the destroyed. It is unclear at this point what would happen internationally if a US court rules in Red Digital’s favour.
Sony has not responded to our enquiries at time of writing.
One criticism I’ve had of many shoulder rig designs is that they are over-engineered for use in news and documentary work. Many are too heavy, poorly balanced or have too many protruding bits to be practical.
My bare Canon C300 is great handheld without a rig for short periods, but when I am doing all day shoots what I look for is a rig that replicates a conventional ENG camera design. I have previously tried the Zacuto recoil rig and while it is very comfortable, it is just too bulky for a lot of the work I do – I think it is better suited to narrative work. I want something that is comfortable for long periods and I can jump in and out of vehicles with.
A relatively simple design, it combines the new ENG Grip Relocator (a version of the original Zacuto C300 Grip relocator that attaches direct to a rig’s twin rods) with a Studio baseplate, shoulder pad and a counterweight.
The C-Shooter with optional EVF and EVF mount
The grip relocator is key to making the whole thing work. The Canon original handgrip is moved off the side of the camera and down onto the rig, with a short cable allowing it to control the camera as if it were still attached. I have used the original for a while and truly love it; the new version looks even better for my needs.
Will this rig replace my current Frankenstein Zacuto/Movcam/Redrock/Genus C300 rig? I am certainly going to be testing it out at NAB 2013.
This from Zacuto’s website: The C-Shooter is a quick, easy shoulder mounted rig for C100/300/500 users. The kits centers around our Studio Baseplate for Canon C100/300/500 cameras (standard 3/8 16 and ¼ 20 tripod mount underneath) with 12″ rods. The rods can slide back and forth to accommodate different lenses and accessories by turning the red levers at the side of the plate. Our comfy shoulder pad also slides on the rods for comfort and ease of use. A 3.5lb weight sits behind the shoulder pad for counterbalance. This handy little kit creates as close to a typical ENG size set up as you can get for your C100/300/500 camera. It’s the best of both worlds!
Attached to the front of our rods is our ENG Grip Relocator for the Canon C100/300/500*. The Canon removable camera grip attaches directly to our Grip Relocator and our exclusive cable connects to the port on your camera. Once its plugged in, users have trigger or on/off control, lens aperture control, and a programmable function button that can be set to a number of things including waveform, 1 to 1 zoom, zebras, my menu, and many more. The cable is 24″ long.
Want to add a follow focus? Check out this kit. An EVF could be attached with our Standard Mount directly into the side of the baseplate.
* The Grip Relocator can also be used with the C500. However, the C500 camera does not come with the Canon Grip. You must purchase that separately from Canon.
The Blackmagic Cinema Camera with Canon 40mm and Tokina 11-16mm lenses
There is growing evidence that several owners’ production models of the Blackmagic Cinema Camera are experiencing serious issues with infinity focus on certain lenses. Initially, users identified the popular EOS fit Tokina 11-16mm f2.8 as a problem lens, with an inability to focus anywhere near infinity when used with the BMCC. Now other users are reporting that other lenses are affected too.
Japanese site Raitank.jp has posted a sample video showing the issue in their BMCC with the Tokina 11-16mm. The reason this lens has attracted particular attention is that it is most widely used fast and wide zoom option for EOS cropped sensors. The other popular zooms in this range do not has the same fast f2.8 maximum aperture.
It seems that most genuine Canon EOS lenses are working as they should because they tend to focus slightly past infinity. The main exception seems to be the recently released 40mm f2.8 STM lens which some users claim gets nowhere near infinity.
Other users are saying that older legacy lenses and even manual focus Zeiss ZE lenses are also affected. On Blackmagic’s own forums user Phillip Mortimer has posted several examples of problems achieving infinity focus with vintage glass and adapters. You can download them here for the first camera he tested, and here for a replacement that was sent to him by Blackmagic. It is clear that both cameras exhibit the issue.
I have run some tests with my own BMCC and several lenses and it appears that I too have the same issue. Lenses that achieve infinity focus on a Canon 6D or C300 do not do so on my BMCC. So far I have tested the Canon 40mm f2.8 STE, Zeiss ZE 18mm and 85mm lenses, along with several Leica R lenses adapted using the excellent Leitax R to EOS adapters. To a greater or lesser extent they fail to achieve infinity with my camera.
I need to run more tests and will do so over the next few days to try to get to the bottom of the problem.
For their part Blackmagic Design have so far claimed that the flange depth of the BMCC “as accurate as possible to the EF flange focal distance of 44mm”. I asked Blackmagic’s Kristian Lam to comment on the issue; he assured me that they are looking into it, adding that it is an ongoing investigation and they have nothing further to add at this point.
There is some speculation online as to the cause of the problem. Whether is it simply incorrect flange depth, poorly calibrated lenses (seemingly a lot of them) or optical issues due to the glass sensor cover remains to be seen. It is also interesting that early testers of the camera did not highlight the issue much (although Cinematographer Frank Glencairn has said his camera has the issue with the Tokina 11-16mm). One possible explanation is that earlier cameras were set up slightly differently prior to the other sensor glass issues being fixed – as we reported here.
As a new BMCC owner I can only hope that there is a swift resolution to this issue. At this point I was hoping to be using and reviewing the camera from a news shooter’s point of view – but that will have to wait until this is sorted out. Of course we will keep you updated on Dslrnewwshooter.com
Over the last three weeks I have been trying out one of SLR Magic’s new HyperPrime lenses – the 35mm T0.95 – on assignments in Thailand, Japan and Cambodia.
I own their 50mm T.0.95 Leica M mount lens and it is one of my favourites despite its quirks. I was very interested to see how the 35mm (also Leica M mount) compared, though the 50mm is much more expensive: $3000 US compared to $1495 US for the 35mm.
Apart from focal length, the major difference is that the 35mm won’t fit on a native Leica M mount stills camera like the M9 – even though both are Leica M mount. Confused? I know this sounds strange, but there is logic behind this. SLR Magic believe that the Leica M mount is a good mount for adapting to other camera systems and particularly mirrorless cameras. This lens can be used on Sony E-Mount, Micro 4/3 or Fuji X-mount. When you purchase the lens you can specify what camera system you are plan to use and SLR Magic will send you the appropriate adaptor with the lens.
I used this lens on the Sony NEX FS-700, Sony NEX-5 and the Sony PMW-F3. The lens works perfectly on the first two cameras and works on my Sony F3 with limitations. On the F3 the lens with my adapter will not focus to infinity but it is pretty close. This is due to the slightly deeper flange mount on the F3 compared to the E mount that is on the FS700. The lens wasn’t really developed to be used on a camera like the F3 but it still works well for the type of shots you are likely to use with a fast 35mm lens.
The second difference is that the 35mm is not a full-frame lens like the 50mm. It will only cover up to APS-C / Super35 sized sensors. I see this lens being very popular for the Sony FS100/700 and also the M4/3 version of the BMCC. Given the smaller sensor size of the BMCC, the added speed of a T0.95 lens should help achieve a nice shallow DOF.
The lens is metal and very solidly constructed, weighing in at just over 760 grams. It comes with a built-in sun hood and a metal front cap, which I did find a bit of a pain to take on and off. The lens also comes with de-clicked aperture as standard as well as cine gears. I found the focus to be a little loose on the version I was testing and the aperture a little stiff. Despite this the lens is quite easy to use. It also has very little breathing which is impressive for a lens in this price range. The lens has very close focusing which I found to be very useful. It focuses up to a distance of 23cm, which makes it very nice for getting close up shots with a lot of shallow DOF in the background.
The lens features 11 aperture blades which help create a very circular bokeh. The bokeh needs to look nice because you will see a lot of it when the lens is wide open. I quite like the look of the out of focus areas and the highlight fall-off when using this lens. It has a very soft, almost dreamy look to it. Don’t confuse this with the lens being soft – even wide open at T0.95 it is incredibly sharp.
With sharp lenses there is often a compromise. Wide open, they tend to suffer from a lot of chromatic aberration. SLR Magic has done a lot of development with this one to minimise chromatic aberration. It is still there, particularly on certain colours, but is remarkably well controlled. On the FS700 and F3 I found the amount to be more than acceptable. When taking stills photographs wide open on a NEX-5 at night I found a lot of chromatic aberration. I put this down to the NEX-5′s (original version) sensor. I have seen examples with the lens shot on other cameras and it is not nearly as prevalent.
How did I find it for video use? Easy to use and very sharp. When you get the focus perfect the results are very rewarding. It is, however, easy to get it slightly out of focus when the aperture is wide open, so be aware of getting your focus spot on. I tried the camera in a variety of lighting situations to see how much detail it could caper true and also to see how it dealt with flare both during the day and night. How flare looks is very subjective. I found it quite nice during the day, but in certain situations you will get a lot of it. The lens seems to respond well to streams of sunlight and not so much to full sun. If you watch my test shots clip you can judge for yourself. At night you will get a lot of colour bounce in your shots and direct light from, say, a car’s headlights straight down the barrel of the lens will produce massive blooming of the image. If the light is more on a 45 degree it is quite pleasing to the eye. The flare and bokeh can produce quite a nice result. Orange and green colours seem to produce more chromatic aberration than others. Again, check out my test shots for yourself.
Where this lens does excel is of course in low light situations. In Japan I was able to go out at night and shoot at 800 ISO with very little available light. It can really make certain night scenes look like daylight. It offers up lots of possibilities when shooting in dark locations as you can get shots that were previously not possible when using slower lenses. There are lots of times when lenses with fast apertures have saved my bacon. In news and documentary shooting you don’t always get a lot of set up time and situations and shots can be lost just because it was simply too dark for a regular lens.
I think this lens is great for what it does in terms of performance for price. Now, $1495US is not cheap and the lens can’t be used on full frame, or on Canon or Nikon DSLR cameras. But that is not its intended purpose. It is definitely a niche lens but I personally like niche lenses. I only wish SLR Magic would make a complete set of HyperPrimes instead of a limited selection. I think more people would buy them if, say, a matched set of 18mm, 24mm, 35mm, 50mm and 85mm were available. The look of the lens is quite unique and it does cut in quite well with Zeiss glass, though not so much with Canon and Nikon lenses.
It would also work well when capturing high frame rates using the FS700. The added speed would greatly help in combating the loss of light you get when shooting high frame rates. Just be aware that if it’s not in focus high speed looks even worse than in real time!
Over all, I’m impressed with the performance and think it is definitely worth considering as an addition to your arsenal if you’re using a FS100/700 or have ordered a BMCC, or even a Panasonic GH-3. It may not match the rest of your lenses and it will not cover full frame, but it is a staggering fast T0.95 lens that is very sharp and is built to a high standard.
About Matthew Allard, Aljazeera Team Leader Cameras, Kuala Lumpur:
Matt has been a Camera/Editor in TV news for more 22 years, previously working for both Channel 9 and Channel 10 in Australia. Twice Network Ten Australia’s cameraman of the year as well as being a Walkley Finalist for outstanding camerawork in 2006 (for coverage of the Cronulla Race Riots) and a Logie Finalist for outstanding news coverage 2006 (Bali 9). He has won 14 ACS (Australian Cinematographers Society) awards. His Sword Maker story that was shot on a 7D won the prestigious Neil Davis International News Golden Tripod at the 2011 ACS Awards. He has covered news events in more than 35 countries, from major sporting events to terrorist bombings. Based out of the Kuala Lumpur broadcast centre in Malaysia he is an avid user and follower of new technology, shooting stories on HD broadcast cameras, the Sony FS700 and F3 as well as Canon DSLRs.