Saturday, March 30, 2013

Video Gear will be at Photo Video West on April 27-28, 2013



Video Gear will be at Photo Video West on April 27-28,2013. We are so excited to be exhibiting at our first trade show! We will be demonstrating Manfrotto Video tripods and RedRock camera rigs.  Come see us at Booth 106, the whole crew will be there. The expo will be at the Del Mar Fairgrounds in Del Mar, in north county San Diego. It will probably be easiest to enter off Jimmy Durante Blvd to get to the O'Brien Hall.  There will be some special offers on new equipment that we can't talk about here, so keep your eyes open. (hint, throw an old beater tripod in the car, it might be worth more than you think.)


Photo Video West will showcase cutting edge gear and educational seminars for photo and video shooters, both pros and newbies alike. This year’s featured presenters include world famous professionals such as Colin Smith of PhotoshopCAFE, Victor Ha of Cinevate, and Jay P. Morgan of The Slanted Lens. Whether you are an amateur interested in improving shooting skills or an advanced professional interested in networking with the top experts in the field, Photo Video West is not to be missed by those who share in the joy of being behind the lens.

We hope you can attend and check out new products from Manfrotto including the new fluid head tripod being announced at NAB on April 8th. If you need more information about the event, check out Photo Video West’s website at www.photovideowest.com or www.Video-Gear.com. To receive real-time updates on the event, subscribe to Photo Video West’s twitter channel @PhotoExpoWest and like Photo Video West’s Facebook page at www.facebook.com/PhotoVideoWest.

For discount admission (it's pretty affordable to begin with) go to:
http://preview.tinyurl.com/cno9f4x


Photo Video West Hours
April 27th 10:00am – 5:00pm
April 28th 10:00am – 4:00pm

Sunday, March 24, 2013

Special Seminar with Larry Groupé, Saturday March 30th

Video Gear, in conjunction with the San Diego Filmmakers, is hosting a special seminar with music composer Larry Groupé next Saturday.  I've seen Larry speak at the SDF meetings twice now and he is well worth the time and effort if you care about music in your film.  More than likely you have heard Larry's work in many Hollywood productions and just don't know it yet.


Copy from the SDF original advertisement
 
As a filmmaker, do you want to know how to best use music to pull your film together?
Or, as a composer, do you want to know how to work with a filmmaker to help make their project even better?

Learn from Larry Groupé, one of the most talented and versatile composers working today in the entertainment industry. With an impressive musical résumé in film and television as well as the concert stage, his achievements have received both critical praise and popular acclaim. Larry's latest film release is "Straw Dogs" for Sony Pictures. He has been nominated for an Emmy® three times and has won twice.  Here is a link to his IMDB listing.

Click on this link to register
http://tinyurl.com/bkum46a

This 3 1/2 hour seminar with Larry Groupe is $45 before 3/29.
$60 at the door.

This special seminar is in addition to the networking event on Mon. 3/25.
http://www.facebook.com/events/428482007236766/?ref=14

Music can be instrumental in pulling the entire movie together. Thematic ideas can bring focus to a number of different elements in the movie. The musical score can be one of the highlights and strong points of the entire film. The composer should be able to get a true sense of what the film is attempting visually and relate it to the score. Larry Groupé will discuss film making through the eyes of a composer who not only loves music, but is insanely in love with film.
We look forward to seeing you there on Saturday, March 30th at 9:30 AM

Wednesday, March 20, 2013

New at Video Gear, Zeiss CP.2 lenses

I was at the Video Gear shop for a meeting last night and decided to detour toward the rental department.  Michael told me that they were getting a couple Zeiss CP.2 super-speeds in for rental.  If I was the Millennium Falcon, the lens set Pelican case was the Death Star...tractor beam and all!  Ahhhh, the feel of smooth freshly anodized German aluminum and sparkle of polished Zeiss glass.  ...and like a beautiful woman, so, so bad for my bank account.


So what makes these lenses special?  Everyone knows that they are based on hand selected ZF/ZE SLR glass.  First, these are super-speeds.  No, not quite the T1.3 lenses of the high end Zeiss Master Primes, but no where near the price of those lenses for that extra 0.2 T rating.  Still at T1.5 for the 35mm and 85mm that's really great speed. The 15mm is rated at T2.9, but if you're shooting with that lens you don't get the option of selective focus anyway.

Why T ratings instead of f-numbers.  The T stands for transmission.  In the film days they needed to know exactly how much light was hitting the film stock.  A T rating takes into account the optical efficiency of the lens, whereas the f-number mainly has to do with the size of the mechanical aperture.  For instance, a lens with a f/1.4 rating may have a T1.5 or even T1.9 rating, depending on the design of the lens.  Now days with video preview it's not quite as important, but it does allow you to switch lenses and know that you're getting the exact same exposure at the same T ratings.  That can't be said for trying to trust f-numbers.  I bare witness to that.  Here's the wikipedia link to explain it in more brain bending detail that you probably need to know.

 
 
 

The Zeiss CP.2's also come with a fixed gear on both the focus and aperture barrels.  This is obviously a much more solid solution in my experience than trying to mount plastic gears to SLR lens.  Notice how the barrels are well marked for distance?  Again, a carry over from the days of film when you had to measure focus distance with a tape measure and hit those marks.  Now days I mostly use video assist and peaking to hit focus.  However, the amount of rotation that's required to pull focus is much more vast than any SLR lens I've used.  To go from minimum distance (say 3 feet) to infinity is a 300 degree turn on the CP.2.  Normally on SLR lenses that's about 120 degrees.  On my Zeiss 21mm ZF.2 it's about 1/100th of a turn to go from 2 meters to infinity!  The increased focus rotational resolution makes it a lot easier to hit subtle focus.  At the same time if you need to do a long focus pull you'll need a speed crank on your follow focus.  There's pluses and minuses.

The long rotation on the aperture is also an improvement over the SLR lenses.  On a de-clicked ZF.2 lens you have to fiddle with the aperture ring to try to achieve 1/4-stop increments.  On the CP.2 this is no problem.  1/10th stop resolution adjustments?...No problem.  Need to do an aperture adjustment mid shot?  Again, no problem.  The aperture ring is well damped, just like the focus ring.  Also, because the aperture ring is geared you can use a FIZ controller while the camera is up on a crane and adjust aperture without having to bring the camera down.  How many time I've wished for that!




The CP.2's have switch-able mounts.  So if you need to mount them on a PL camera, like the Red, Arri, or high-end Sony, we have you covered.  In the FS-700 photo above the E-mount has been installed.  There's also the EF-mount, F-mount, and micro four-thirds mount available from Zeiss.  Call the shop to see which mounts are currently available.  We'll have the lenses converted before you pick them up. 



The final feature that I can think of is the consistent mechanical dimensions of the lens.  Except for the 50mm macro, the rest of the lenses have a consistent front diameter, length, and placement of the focus and aperture rings.  That makes lens changes much easier in the field.  I personally have to compensate for the distance discrepancies with my ZF.2's by using the Vocas fabric donut at the back of my matte box, but that doesn't always work well with lenses whose front elements extend out as you focus. 

If you're interesting in renting the lenses please call Michael at the shop.

Sunday, March 10, 2013

Metabones Speed Booster Lens Adapter

When I first heard about the Metabones Speed Booster lens adapter, my first reaction was this has to be too good to be true.  Fast, wider, and sharper is the claim...and on top of that is the electronic aperture control and image stabilization for Sony E-mount cameras. 

Saturday night was my first opportunity to use the adapter at an Indian music concert.  I don't have any primes longer than 100mm, so this was perfect.  I could use my Canon 70-200 f/2.8 zoom and have it become an f/2 lens!  At ISO 1600 I could actually get a reasonable exposure when stopping down on the lens!

A brief summary of my experience is that yes, the electronic aperture works.  In fact, it works very well.  I was thinking that I would have to constantly remember that the aperture was one stop wider than the lens is set to.  In practice, the lens adapter had already taken this into account and was reporting back the correct aperture to the camera!  I could take my lens and dial is all the way down to f/2.  The iris wheel on the side of the FS-700 worked flawlessly.  I could also turn on image stabilization, which was essential when operating at 200mm most of the night. 

 

Below are some basic pictures of the Metabones adapter. You can see the electronic control pins on the inside of the lens flange.  The lens release is on the right of the stand-alone picture.  They have a USB port on the other side of the adapter (side not shown) for firmware upgrades.  No firmware updates were done here.  In fact, I didn't have time if you read the last post about the Micron riser plate.


 

Another basic picture of the FS-700 and the lens adapter, this time with a Zeiss ZF.2 lens attached. 

The only difficulty I had with the adapter all weekend is that my Zeiss 21mm ZF.2 lens (Novoflex adapter to go to EF mount) wouldn't focus at infinity.  I later took this same lens and mounted it to my 5D mark II and it would focus at infinity, even with the Novoflex adapter.  I don't want to start any unconfirmed rumors, but perhaps the Metabones adapter has the same (too good) tolerance issue that the Blackmagic camera is currently suffering from.  If you open the picture below and look at the palm trees in the background, you'll see that they aren't in focus.  Being a half mile away, these should be in focus when the lens is set to infinity.  I realize that this was the FS-700 AVCHD codec,but it shouldn't be that blurry.  I also noticed the lack of sharp focus when punched in on the viewfinder so we can't blame the codec here. 

 

Overall, I think The Metabones Speed Booster is a great product and worth the money for Canon L-series lens owners.  It's a great way to transition over from DSLR video to a higher quality video camera.  I realize this is a more difficult ask, but I wish Metabones offered a version of this same adapter that would electronically control the Zeiss ZF.2 aperture pin. That would be brilliant.
 
The adapter is available for rent in the shop.  Call Salvador if you have questions about it.
 

Monday, March 4, 2013

Element Technica Micron Components and the Sony FS-700

This last weekend was truly a wild one. I'm still recovering.  Last week Salvador called me up and said we just got an Atomos Samurai and Metabones Speed Booster lens adapter....  Wanna review them?  So off I raced to my email to solicit all my director friends for weekend projects.  I thought I would get just one response, if I was lucky.  After all, I was left to filming cows in slow motion last time.  Two responses later I realized that I was going to be shooting ALL WEEKEND!

The FS-700 camera had a scheduled demo on Saturday, so by the time I picked it up I had approximately one hour to get the camera home, configure it, check the batteries, read the manuals, and pack everything in the car.  Lucky for me, I had previous experience with the FS-700, so the only real new thing to learn was the Samurai.  I was going straight into a documentary with no chances for second takes.

The previous weekend I had met with the sales rep for Element Technica, manufacturers of the Micron line of camera mounts and 3-D stereoscopic rigs, at an event hosted by Shane Hurlbut ASC.  The rep sent sent me the E-T Micron FS-700 riser plate and shoulder pad for a review.  Since they were first to ask, I'll start this series of reviews with the Micron mounts.  In full disclosure Video Gear is a dealer for the Element Technica components, however I wasn't paid to do this review.  The opinions here are my own from using the equipment in the field.

I'll admit that I was and continue to be a fan of their products.  I first used Element Technica components on a feature I AC'd on last year, shooting on the Red Epic.  The components are made in the USA and production tough in my experience.  So when it came to outfit my personal camera, I bought the Micron dovetail and bridge plate and have been using them for the past six months on various productions.  The Micron FS-700 riser plate and shoulder pad just showed up on Friday, so the only time I've spent with them is this past weekend.

 

The riser plate comes drilled with many, many 1/4"-20 threaded holes, typical of most professional camera mounts now days (see picture below).  This is great for a lot of components out there, including many articulating arms and other mounts.  Unfortunately for me, my Noga cine-arm has a 3/8"-16 thread so I would need an adapter to take advantage of these threads.  In the photo above you can see that I attached the cine-arm to the FS-700 top handle simply because I didn't have an adapter.  This got in the way with some of the shots I did this weekend while hand held.  The cine-arm was partially blocking the grip on the FS-700 which made the ergonomics of using the FS-700 top handle more difficult.  Element Technica sells a top cheese plate and replacement handle for the FS-700, which would probably solve this issue as well.

The riser plate comes with three 1/4"-20 mounting screws, so the threaded holes are convenient for storing the screws.  The last thing you want to do is put the screws in your gear bag and have to go searching for them every time.  The camera attaches with all three screws.  At first it was non-obvious to me that there were three screw attach points.  Two of them are hidden under the shoulder pad, so if you attach the shoulder pad first, you'll never see the two additional screw attachment holes.  It would have been nice if Element Technica had provided a single page instruction sheet showing the screw attachment positions just so users don't only attach the riser plate to the camera with a single screw (i.e. the one that's not hidden).

The riser plate has two alignment guide posts that stick up into the camera body.  The magnets also provide a little attachment force.  At first I had to wiggle the riser plate into position on the camera because the magnets were actually wanting to attach to the camera first.  They are that strong!  You'll want to align the far screw end of the attachment first, then lower the magnetic end.  Much easier.

Speaking of screws, any AC will tell you that the most common "AC screwdriver" on a set is actually a coin - most often a quarter.  Maybe in a second generation riser they will make the screws captive like the other 1/4"-20 screws in the Micron system as well as switch over from an allen head to a screw that uses a flat head screwdriver.  I know I'm being picky here since if you own an FS-700 the riser plate will likely be semi-permanently attached to the camera and field screwdriver issues are unlikely.  However, it would be an usability improvement from an AC's and one man crew DP's standpoint. 


 

I have slanted shoulder blades, so I can personally appreciate the fact that the Micron shoulder pad has a slanted profile.  It turned out that shoulder pad fit quite comfortably.  The pad actually attaches via four strong magnets.  Element Technica includes a single captive 1/4"-20 screw for permanent attachment, but this really isn't required.  The magnets alone are more than strong enough.  Most of the time I have to really pull on the pad to separate it from the riser plate.  I mean REALLY pull hard!

One small issue I had with the FS-700 specific shoulder pad is that the 15mm rods bump into the back of it.  If you set the rods too far back the rods will actually dig into your shoulders, so make sure you have the correct rod length for the specific lens/matte box combo you use.  Element Technica just released a new shoulder pad design that mounts to the rods and solves this issue (not shown here).  That design, that mounts to the rods, also allows you to attach a battery plate further back and balance out the weight of the camera.  Any wedding shooter will tell you what a relief it is to have a balanced shoulder rig, especially two hours into the reception party!  The riser plate has 1/4"-20 threads on the far back (not shown) so in theory you could attach an Anton Bauer style battery plate there to at least partially balance out the weight of camera.

 
 

One of the big reasons I personally invested in the Micron system is that I need to use it with a variety of "smaller" body cameras like the Sony FS-700 and F5/55 as well as the Canon C100/300/500 cameras.  Element Technica has provisions for all of those camera systems with riser plates, or in the case of the Canon cameras - removal of the top of the bridge plate.  Given the versatility, the investment was worth it for my work.

If you'd like to talk to someone at the shop about using Element Technica Micron components please call Jeff.  The FS-700, Atomos Samurai, and Metabones Speed Booster are also now available for rent.  We're here to help if you have questions.

More to come in the following weeks.  I'll be getting back to the Atomos and Metabones products soon.