The following article is a review by FreshDV guest contributor Eugenia Loli-Queru.

Geeks.com sent us over for a review a Kodak V1233 12MP cheap digital camera that has a 720p HD recording capability. Along with it, they also sent us a 4 GB SD card to test the camera with.

The V1233 uses a 1/1.72in CCD that captures 12.1MP pixels JPEG images. It features a 3x varizoom, an electronic image stabilizer, and a 2.5″ LCD screen. It comes with 32MB flash storage and it accepts SDHC cards up to 8 GB. The camera sports a microphone and a flash. This model is largely the same as the V1253, a $40 more expensive model. Their only differences are the larger LCD, stereo mics and higher video bitrate that the V1253 enjoys. Delve in for more.
Continue reading ‘Kodak V1233 12MP and 720p HD Camera Review’

Zacuto is a full-service camera rental house in the Chicago area that also makes camera support systems. Their gear is customized to various camera packages and configurations to help shooters work more efficiently and effectively, whether for their own rental packages or for personal purchase. Some months back we had the opportunity to tour the Zacuto facility. At that time we also shot a short overview of the Basic Studio and Handheld Redrock M2 Adapter support configurations. In recent months they’ve also rolled out new packages and options designed to work with the Letus Extreme 35mm adapter and other recent HD cameras (like the new Z-Riser for the LEX and Red). The following 20-minute video takes you through the build-up of a Basic Studio HVX200 support kit, as well as the more in-depth build-up of a 35mm adapter support configuration designed for handheld use. So if you are a Zacuto rig owner and are looking for some instructional tips, or if you are simply new to Zacuto gear, we hope this video sheds some light on the subject.

Download the QT video, subscribe to FreshDV’s audio/video podcast feed, or watch via streaming flash below.

 Configuration and Setup of Zacuto Support Systems [20:30m]: Download

The Sony HVR-Z1U and HDR-FX1 HDV cameras are basically an identical camera with the exception of a few key features. They are built on the same 3-CCD system, tape transport, and 4.5mm to 54mm lens (32.5mm to 390mm equivalent 35mm FOV). Z1U is the “pro” model and adds XLR audio, a 50Hz mode, and a number of additional menu settings and firmware-related tools (addl. Cine gammas, etc). For a complete breakdown of the two models, check this chart.

The point of this post is not to address the featureset of two HDV cameras that are getting somewhat long in the tooth, it is to talk about something that I haven’t found anywhere online before. One of the differences between the two cameras is the fact that the Z1U shows a numeric zoom scale on the display. With the lens at full wide it displays Z00, shows Z50 at about half zoom, and Z99 at full telephoto. In contrast, the FX1 simply displays a visual zoom scale indicator on screen. The only way to accurately return to a certain focal length is to use the physical zoom ring, which has a limited scale of mm markings on it. This scale matches the markings on the Z1U’s ring, which can be correlated to the internal numerical percentage scale. In recent testing it became necessary to determine what that correlation was, so without further ado here are the equivalent Z-numbers that relate to the Z1U’s zoom ring markings (and therefore also correlate to the markings on the FX1).
Continue reading ‘Sony Z1U Equivalent Zoom Percentage Scale on the FX1′

This DVinfo user has fitted his camera with the HV20’s full zoom-through Canon WD-43 wide angle converter and a Canon XHA1 lens hood gaff taped on. It’s a unique solution that looks surprisingly sleek.

Stu Maschwitz has a in-depth post up where he talks about the latitude of current Digital Cinema cameras, and how the Rec709 colorspace (i.e. video) handles highlights vs film’s highlight handling. Where it gets sticky is how a clipped highlight in video maps to the highlights on film. If you are shooting with the Red One or another such camera and wish to output to film at some point, this is a must-read. Short on time? Read the compact summary. Here’s an excerpt:

“Shooting with RED One and monitoring Rec709, if you put 18% gray at 45% IRE, you’ll capture 2 stops over 18% gray, plus some headroom.
Want to match Panalog? Underexpose by 3 stops for 5 stops over 18% gray, plus headroom.”

For more experiences with the Red One from the field, read this Studio Daily article on the production of 3 Days Gone. Two interesting notes…they used a P2 recorder on set to capture and review dailies, and ProRes proxies of the 4K footage for editing.

As with any new technology, there is a learning curve and some pain for early adopters. One of the issues with the CompactFlash media workflow introduced with the new Sony HVR-Z7U and HVR-S270U camcorders is the fact that CF cards are formatted in FAT32, therefore they have a 4GB filesize limitation (that’s about 20 minutes of video). Much like Panasonic’s method of spanning P2 cards, these new HDV camcorders simply split the recorded M2T clips at 4GB for rejoining later. Sony has released a software utility for PC users that can address this rejoining process, as well as provide renaming assistance if you’ve managed to record clips on different cards with the same filename. My understanding is that it’s basically a standalone import utility that will automatically re-join split clips as it pulls them off the cards. You can download it here.

There is also a new Final Cut Pro plugin from Sony that enables access to the CF media from FCP’s Log and Transfer function. Again, this is a very P2-like workflow. One minor difference is that the Log and Transfer Preview is inactive. Once files are selected, the software wraps the M2T streams into Quicktime and automatically joins 4GB-spanned segments as it transfers the clips. I have to say that I am quite impressed that Sony has delivered this particular plugin so soon. It looks like a simple and trouble-free workflow for Mac editors. You can download both versions and instructions here. We have continuing coverage of these two camcorders here.

This is a very short but very interesting demo of an experimental technology that Adobe’s Photoshop division is playing with that allows you to selectively control depth-of-field and focus points in post-production. Maybe someday we’ll see this trickle down into VFX.

Sony’s HVR-Z7U is finally in stock at B&H, pre-orders should ship out in the order they were received. We have previously covered this camera thoroughly here. And if you’ve missed the first Z7U user reports you should definitely read the comments on this recent post, particularly in regards to it’s reported lack of rolling shutter vertical skew. That is good news indeed.

The following is compiled from a comment by FreshDV reader “Adam” that was so detailed and extensive I decided to promote it to a post. You can view the original comment thread in context here.

FreshDV reader Adam says:
Mine arrived last week and here are my initial observations, cobbled together from various posts I’ve made elsewhere. It’s light and heavy at the same time, in a good way. Very light for its size, but still a good 50% heavier than my FX1. The bulk is comforting. With the big battery on the back it’s nicely balanced, but we’ll see how I feel after several hours of shooting. Shoulder pad is, as others have mentioned, unbelievably hard. They couldn’t stick a pad on it? Also, while it has a huge lens shade, they give it a cheap plastic lens cap and no place to put it while shooting. It just dangles there. At least my old VX2000 had a clip so you could stick it to the hand grip while shooting. For this price they couldn’t give you the “barn-door� lens shade like the FX1? Even though it isn’t mentioned anywhere in the literature; the way the leash attaches to the hand-grip, you just pull the other end of the leash and it snugs the cap up against the grip. The leash is still dangling, but at least the cap isn’t banging around while you’re shooting. Still would love a lens hood with the barn doors, but I understand why they don’t have one (yet). On the FX1 and FX7 hoods (neither of which fit), the locking set screw for the hood itself is on the opposite side from the barn-door switch, which means the set-screw bangs into the forward hand grip beside the lens when you try to lock it on. If they can design a hood with both of these pieces on the side by your left hand, it would work.
Continue reading ‘Sony HVR-HD1000U User Report’

HD Expo and Panasonic are offering a free two day camera production workshop for ASC, IGC, SOC and other guild members who have been affected by the Writers Guild Strike.

“The P2 Workshop is being offered at no charge to guild & association members in a show of support for the cinematography community, and will offer career-advancing training that can be utilized once crews return to work. The workshop prepares the professional cinematographer with sophisticated knowledge and understanding of this dynamic tool set that is changing production models. The P2 Workshop is an informative, professional-level class that will introduce attendees to the next generation of solid state, P2 HD camera systems and support equipment. It will impart an understanding of how to integrate the benefits of non-linear, file based IT compatible technology into a production workflow.

The two-day session is set for February 29 and March 1, 2008 at Panavision in Woodland Hills, CA. Several industry stalwarts have lined up to support this educational event including Panavision, Fujinon and Birns & Sawyer. Panavision is contributing the use of its stage, screening room facilities, support gear and staff. Birns & Sawyer will provide camera and support equipment, and Fujinon is donating lenses and sponsoring lunches for participants.”

Registration forms are available online, and you can contact HD Expo at 818.842.6611 with any questions.

Over at VideoUniversity, user Shawn Lam has posted a number of pictures from his brand new Sony HVR-Z7U as well as a detailed description of overall design and features. It’s quite informative. Here’s a few key points that caught my eye (a few have been noted previously):

* Menu scroll dial is on left side, not back.
* The CF recorder module covers the battery when attached to the proprietary connection port.
* Tape transport door is in vertical configuration, opens to the back.
* Connections on back include Component, Composite, LANC, Headphone and 6-pin Firewire (yes, that is the big plug). A HDMI port exists on the left side of the body.
* As stated in previous documentation the top handle has a second cold-shoe, towards the back. It comes dissasembled but can be added with a screwdriver.
* A/C Adapter is a fake battery that occupies the entire battery port. The charger handles two batteries and has a LCD status display. Like the EX1, it makes you choose between charging the batteries or powering the camera, not both at the same time.
* Shawn says “7 LBS 2 OZ with tape, large battery, and CF recorder attached.”

Read on for the pictures and more details. B&H has the Z7U listed at $6,299.95. You can read more of FreshDV’s Z7U and S270U coverage here.

I just noticed that B&H dropped their price on the PMW-EX1 camcorder. It was previously listed at $6699.00 and has been recently reduced to $6,449.00 (and is currently marked “In Stock”). This is a great development for a camcorder that is still in high demand. New EX1 buyers should also remember to take advantage of the 8GB SxS card rebate (PDF) and also the EX1 + Accessories rebate. We’ve been been doing a series of EX1 reviews and tests, click on over for more info on our results.

LetusDirect has announced an update for Letus Extreme shooters who are using the adapter system with the new Sony XDCAM PMW-EX1 camcorder. Some users have reported that edge sharpness appears to suffer on the new Sony camera. The new “Sony EX1 optimization kit” includes an achromat lens that is tailored to work specifically with the unique Sony Fujinon lens, and a 77mm thread ring that fastens directly to the Letus. The kit is available as an addon to new or pending orders for $199, or as a standalone package for $349.

Via CDM comes this link to an Instructables article on creating your own “time-slice” capture rig ala The Matrix. Interesting project.

Vision Research has announced the Phantom v12, a high-speed camera system that can record 1280×800 resolution images at 6,315 frames-per-second, 128×8 images at 1-million fps, and a wide variety of combinations in between. The V12 offers “sub-microsecond shuttering” as fast as 300 nanoseconds, 8-bit or 12-bit options, and records to built-in RAM or optional CineMag memory packs. Read more at visionresearch.com. If you’d like to see some amazing slow motion footage from a previous models of the Phantom, view their Gallery.