Sound Devices PIX240 - A Camera's Best Friend

By David Jeffries
DP/Technical Specialist
Ohio HD Video & Cine Rental

Often times cameras' internal recorders limit the amount of information you can take from your shoot. More often than not, you will end the day without using the full capabilities of your camera. 


SoundDevices is making the post-production process easier while retaining the most information from the camera with their PIX 240.  This outboard recorder with a built-in monitor allows a user to record directly to an SSD drive or Compact Flash media in very high qualities and direct-to-edit formats.

The PIX-CADDY allows for triple-interface connectivity to the SSD drive including USB 3.0, Firewire 800, and eSATAp; all of which are bus powered making them very versatile for offloading.

The PIX currently supports two codecs: 

-Apple ProRes (Proxy/LT/422/422HQ 10-bit)
-Avid DNxHD 36, 145, 220 Mb/s, 8- and 10-bit

Video inputs include both HD-SDI and HDMI and will cross convert to one another and will output to both simultaneously.  This is a great feature when using a camera that only supports HDMI and you need to feed multiple monitors.  The unit will also Up, Down and Cross Convert 480i 525i, 720p, 1080i and 1080p signals.


In the latest firmware, SoundDevices added more controls including False Color, Zebra Stripes, 1:1 Pixel Mapping, and a Peaking Filter to further allow these recorders to double as camera monitors.

Pros:
-Direct-to-edit, 10-bit files.
-Record triggering using timecode, or through SDI flags for a variety of camera systems.
-Clear identification of when the unit is recording.
-Monitor picture controls and features to assist with exposure and focus.
-Can support up to 8 channels of audio over an SDI line.
-Unit includes two analog XLR inputs.
-Will serve as a highly accurate timecode and genlock generator.
-Powered through Sony L-Series batteries, D-Tap, or AC power supply.

Drawbacks:
-Screen resolution is only 800x480
  -While the resolution is less than that of an HD monitor, it still has an excellent picture.
-If mounting to a camera, the unit can be a bit heavy.
  -When using (2) Sony InfoLithium L-Series batteries the weight comes to about four pounds.

There are not many functions this outboard video recorder cannot do (and they keep expanding its functions).  It will be sure to speed up your production and post-production times, while utilizing the maximum output capabilities of your camera.


For more information about the Sound Devices PIX240 or to inquire about a rental please contact Ohio HD Video & Cine Rental.

Thoughts on the Canon C300

By David Jeffries
DP/Technical Specialist
Ohio HD Video & Cine Rental

This year Canon released their new line of Cinema EOS cameras with the release of the C300.  After extensive use with the camera we have been very impressed with its capabilities. The camera truly excels in several areas including low light, lensing, and form factor.

The C300 has an ISO range of 320 - 20000.  While every camera has its extremes, this camera produces excellent pictures with ISO much higher than most professional digital cameras currently available.  There is very little amount of grain in the image all the way up to 8000 ISO.  At 10000 and 12800 ISO there is noise, especially in the blacks.  At 16000 and 20000 ISO there is significant noise in the image, but unlike other cameras, they are still arguably acceptable amounts of noise.

While the camera is offered in both the PL mount version as well as the Canon EF mount, Ohio HD has chosen to only pursue the EF version.  What makes the camera a strong solution for a renter is the ability to use any EF mounted glass that is already on the market.  All of your old DSLR lenses and L-Series glass will fit and still produce great quality pictures.  With lensing that includes lens data, it will pass through to the camera to be stored in metadata and displayed on the monitor for the operator's reference.

Another great function of the camera is its ability to be configured for a full cinema rig or just as small as a DSLR.  The body has a removable LCD screen, top handle, and side handle.  Even with all of them removed, the camera retains nearly all of its functionality (without the LCD there is no XLR input).

No camera is perfect (though the Arri Alexa is close), and like any camera the C300 has its downsides.  One of the biggest flaws we have seen is the limiting color space available.  While the camera works great when staying in the REC709 color space, the Canon Log seems to be limiting in expanding out the dynamic range later as it would cause banding.  Wile other cameras offer larger bandwidth outputs, the C300's outboard ports offer the same as its internal.

Another slight downside is the lack of mounting points throughout the unit.  Many cameras offer 1/4" 20 and 3/16" mount points, this only offers one in the cold shoe mount that is used to attach the top handle. While most systems Ohio HD would offer as a full cinema rig would be able to mount an external monitor.  At the base unit, it would be difficult to add this functionality.

As a final thought, when the camera first arrived we were skeptical at best.  After having multiple in stock for a few months and having the chance to work with them it has been quite the surprise.  We highly recommend this camera, especially when working in low light or with limited resources.

For more information about the Canon C300 or to inquire about a rental please contact Ohio HD Video & Cine Rental.

Abel Cine Camera Workshop at Ohio HD Video Feb. 4, 2012

We are really excited to be able to host a day of camera classes with Andy Shipsides from Abel Cine in New York. Space will be limited so make sure you register. There is small fee involved, but it is much lower than the standard Abel classes and you don't have to travel. Andy is an amazing resource and someone you should get to know!

Register Here!

http://training.abelcine.com/digital-cinema-day-at-ohio-hd-video/

Sony FS100

Sony FS100

Budgets come in all shapes and sizes and we try to provide camera solutions to match!  The new Sony FS-100 delivers both on quality and on budget.  Either paired with a Sony “E-mount” kit lens or a set of Zeiss ZF primes this camera provides amazing images.  Our website can help you decide which options are best for you and provides pricing so you can plan your shoot budget.  The FS100 has the same 35mm APS sized sensor as the Sony F3.  It shoots AVCHD to SD Cards in a variety of popular formats.  It has a native ISO of 800 and the signal to noise ratio is very low even at higher ISO or gain setttings.  It has HDMI outputs and can be used with a Nanoflash for higher bitrate recording.  It also makes a great 2nd unit for those that choose to shoot the Sony F3.

Another 1st: The Arri Alexa comes to Central Ohio!

Another 1st:
The Arri Alexa comes to Central Ohio!

I have never seen an avalanche of cameras like the one I have witnessed this year.  At Ohio HD Video we have added 9 new cameras to the inventory since the beginning of the year! From the  Panasonic’s AF-100,  Sony’s new PMW F3 CineAlta, Sony  FS100 and now the cherry on the top the Arri ALEXA.  Once again Ohio HD Video is proud to bring the most relevant gear in our industry to our local market.  The Arri ALEXA is becoming the most widely accepted camera used to acquire high-end digital images for commercials and features.  In addition to it’s amazing image quality, we are most excited about it’s potential to streamline the post-production workflow.  The ALEXA has three main post paths: Shoot to Edit (ProRes), Uncompressed HD and Uncompressed RAW. Each has its virtues and each is well supported today.


Perhaps most compelling for our market is its ability to shoot to SXS cards using two slots internal to the camera.  ALEXA calls it a Shoot to Edit workflow, which in the language of ARRI means finished video already compiled into a codec that can be loaded directly into an edit system for post. Currently, ALEXA uses ProRes in both 422 and 444 varieties. In compression quality, it is second only to master-level formats such as HDCAM SR. ProRes is a native format for Apple’s Final Cut Pro and can now also be used natively on the latest version of Avid Media Composer.

ALEXA records ProRes onto Sony SxS cards, the same compact and reliable media Sony uses for its XDCAM EX cameras. A 32GB SxS Pro card can hold about 20 minutes of ProRes 422 or 15 minutes of ProRes 4444.  Recording in ProRes, ALEXA is a compact and self-contained camera. The SxS cards can move directly from the camera to an edit system, and post work can begin immediately with no capturing or recompression.  This can cut hours from your post workflow and make the ALEXA a very affordable option for your next shoot.  Call us to arrange a time when we can show you all that this impressive camera has to offer or check out the Arri ALEXA web resources to learn more.  You can also check out Andy Shipsides, Able Cine blog on an ALEXA/FCP workflow.

SONY F800 XDCam Optical Disc Camera at Ohio HD

SONY F800

XDCam Optical Disc: This 2/3" HD Cine Alta Camera is the perfect camera when you don't want to shoot to tape but need to archive footage!

Time-lapse

Time-lapse

Outdoor Solar Powered Time-lapse: One of the more challenging projects we had recently required us to place a camera outside on a roof for three weeks with no access to power.  After some searching we found a rig from Harbortronics which we now have available for rent.  The rig comes complete with a Canon Rebel XS, Digisnap Intervelometer, and large battery all contained inside a weatherproof housing with a solar panel on top for continuous charging.  The perfect way to get the impossible shot!