The FS100 is a pretty solid camera for the price. It really delivers in many ways. However, there are a few hiccups I’ve found with the camera that come up again and again after owning the camera for 4 months: color and highlights. The colors always tend to lean towards yellow straight out of the box, much like other Sony cameras I’ve owned and shot on. The 5D, despite its technical shortcomings on video, delivered the best in-camera color over any camera I’ve owned or shot on.
The FS100 needs a bit of help on colors to move away from the video look, which in the climate of “grade everything” we’ve moved into, is an ok scenario. Sony decided against including a ‘log’ gamma curve in the FS100 like is included on XDCAM cameras like the F3, so users must devise their own methods for maximizing range. That’s exactly what Frank Glencairn did when developed his “G-Log” picture profile for the FS100. Other very popular profiles are the set of Abelcine settings . Below are some screen shots of just a quick backlit subject tossing a frisbee to look at the information coming straight out of the camera.
The camera setup:
Pentax 50mm F1.7 with K mount to E adapter. This old lens has a slight yellow bias. When combined with the Sony chips which always seem yellow to me, I often find myself pulling yellows down while grading.
1.2 ND
1080/24p FX AVCHD
5600k white balance
Handheld
FS100 No picture profile
FS100 5dmk2 Abelcine Setting
FS100 Kodachrome Setting by Frank Glencairn
FS100 G-log by Frank Glencairn
James' Modified Cinematone 2
I feel as though my custom setting has the best of both worlds… the colors seem to represent what my eye is seeing fairly well with a hair less yellow while bringing up detail in the shadow areas a bit. Out of all of the gamma options on the camera, I prefer the cinematone 2 with raised blacks.
Here are the settings I used for my modified cinematone 2 look:
Black Level: +8
Gamma: Cinematone2
Black Gamma: High, Level +7
Knee: Manual, 80%, -1
Color Mode: Cinematone 2, 5
Color Level: 0
Color Phase: 0
Color Depth: R0, G0, B0, C0, M0, Y -5
WB Shift: all 0
Detail: off
I’m considering a Ninja-2 from Atomos, and will be interested to see how the 8 bit 4:2:2 HDMI out compares to the 8 bit 4:2:0 internal AVCHD recording…
Additional note: For dynamic range, along with carefully selecting your picture profile, the Fs100 does record superwhites up to 109 IRE, which is invaluable to know when editing. There have been some issues keeping the superwhites in Premiere however… be careful!
Strictly for fun.
The goal was to get the edit under 1 minute and tell a small story about something mystical.
Shot on the beloved Canon 5Dmk2
Music “The Tempest” by Jennifer Thomas Buy it on amazon.com
The FS700, aka “Captured Unicorn” is the FS100 on steroids. 4k capture through external device, ND filters (HUGE), and high frame rates beyond 60p! It looks like 240/480 at 1080p, and up to 960fps in a crop mode! This could be the first camera that brings high frame rates at a high quality into an S35 system under 10k.
After using the FS100 for the past few months, I’m intrigued by the FS700. There’s a lot I like about the FS100, especially coming from a DSLR. XLR audio inputs, full HDMI out.. a sony E-mount (which, at first I didn’t like, but with the long list of adapters that work with it, I’ve grown to like this system).
One of the primary benefits of the 100 is the low light capabilities, as seen below. Zero lights, dark nights, and the FS100 pulls it off.
Natural light can be explored in a new way, which is a very cool way to think about shooting (though traditional lighting technique is irreplaceable). I’ve lit an interview with a 60w edison bulb for a key…
I hope to see similar low light performance on the FS700, though I wonder how the increased resolution will impact the size of photosites, and therefore the low light performance.
Will be at NAB 2012, ready to fiddle around with it!
I love snow days. They disrupt the expected and shake up creativity. On Feb 3, 2012, Denver and the surrounding areas was rocked by 12-18 inches of snow. Cabin fever rose everywhere… so did creativity. Like any artist, I had to release this inspiration, and it came in the form of a video. Having recently picked up a Sony FS100, I decided it was the perfect camera (due to the S35 sized sensor and 1080/60 frame rate) for the job.
Ergonomics on the FS100 are something to be simultaneously admired and hated. It doesn’t have the comfort of a prosumer camcorder or a DSLR… it’s somewhere in the middle. But, on a good note, the camera does strip down to a reasonably small size, allowing for some high tech weatherproofing
The ziplock bag worked a treat. Camera was absolutely dry despite the heavy snow. NICE.
The AVCHD codec held up surprisingly well in the conditions. Small snow particles moving quickly in front of a nest of twigs and dead branches might be disaster for some cameras, but the files look fine, even at 1080/60. Sadly, this online version doesn’t do the original files justice. Enjoy,
Looking forward into 2012, I’m proud to announce that I now offer a Sony FS100 in house to compliment the other camera systems.
The intent is to use the Sony FS100 to replace my beloved and often used Canon 5D camera system. The camera sports an S35 sensor, crazy low light capabilities, resolves more resolution and retains more sharpness than current DSLR video cameras. It also has 2 XLR audio inputs, which saves a bit of time on the editing/post side of things.
Not retiring the 5D yet, but it will become more of a “B” camera for now!
As of January 1, 2012, I’ve decided to place Jesus Christ at the front of my business. For several years I’ve very much fulfilled the roll of an inactive “Sunday Christian” and have decided that it can be no more. Having Jesus displayed prominently on my website is just one way I aim to demonstrate and remind myself of the importance the Lord plays in my life. Not every production I work on will necessarily be a “Christian” production. There are plenty of productions that need to be finished that don’t “have that positive message”. I am careful about the projects I work on, but video production is a diverse field and I’m grateful for the interesting projects I get to work on! That said, I am actively looking to do more work with the community in Denver and abroad to honor the Lord.
I’ve had the opportunity to work on some projects that have been very dear to me. Both the Save Our Youth piece and 180 Ministries videos are stepping stones in my career helping me decide which route to take.
My greatest hope is to honor the Lord in many new ways in 2012 and beyond, both in business and video production.
A mother almost loses her prodigal daughter to a drunk driving accident and is unexpectedly pulled back into her life.
In this short piece, she recounts the events that unfolded 4 years ago by looking at undeveloped film from before the accident.
Dedicated to those who have lost someone in a drunk driving accident.
Maenem by Jami Sieber from the Album Hidden Sky, 2004
Baba O’Riley by the Who
Moving On by Tilopa from the album By the Way 2006
Skies by Dave Preston from the album “Soundtrack for Motion” 2010
On this particular piece, I shot parts of it, produced and edited.
This is the first blog post in a series of x blog posts
Amongst the varied types of projects I work on, I have the pleasure of working with a diverse group of corporate clients on a regular basis. Each client has different takes on the type of content they prefer to use. Some relying heavily on photos and graphics, others are interested in shooting relevant b-roll, some want stock footage, some want staged material… the list goes on. But the cornerstone of most corporate videos is the interview. It is a simple, fast and (deceivingly) easy way to deliver information, add personality and emotion to a message, and engage an audience interested in your topic. The interview permeates many varieties of video, so it is absolutely critical for producers/videographers/filmmakers to master the it. I’ve spent the last 6 years shooting professional video content of all types, much of that interviews, and I’d like to spend the rest of this post sharing some of my best practices I’ve learned and discovered along the way.
There are a few necessary conditions for an interview to really take off.
1. They have to be comfortable
2. They have to be passionate
3. Sometimes surprise
4. They have to be honest
If these conditions are in place, we have the opportunity to capture some great stuff. So the interviewee is there in front of the lens… They’re now at the mercy of the questions. There are no hard and fast rules here. Sometimes the simplest yes or no question can lead to an intimate insight. Often, a well phrased and relevant question falls flat. If you have an infinite budget and time, it’s best to do a heck of a lot of research on your interviewee, the subject(s) they’re speaking to, the context they’re talking in, etc etc. It’s immensely helpful to meet beforehand. A phone conversation can do the trick, but I’ve learned that you can’t replace a casual face to face. My goals in these early meets tend to vary depending on how media-ready the interviewee is and the type of content we’re after. On a recent documentary project for a non-profit, much of the project centralized around the hardships that the interviewee had experienced. We spent 3 days getting to know each other before we shot the video. The emotion and vulnerability that was expressed in that interview is what really sells the story. Yet it wouldn’t have been emotionally possible without making the investment of time with the interviewee, building trust and ensuring that I was treating the hardships with the required attention.
In corporate videos, there often isn’t much time to establish a relationship with the interviewee. Instead of days or hours, some instances only allow for minutes before the camera begins to roll to develop a bit of repor. The attention has to shift to becoming acutely aware of who I’m speaking with and their role before stepping foot in the room. Seems like such an obvious point, but it’s surprising to see how many interviews I’m a part of (maybe just shooting, not organizing) that are missing this piece.
Occasionally, I’ve run into the situation where another interview needs to be taped (or captured…) last minute. No prep, no meets beforehand, just start rolling.
In the next blog post on this series, I will be discussing specific questions I try to ask for almost every interview.
For starters, I’m initially biased. We have an Epic in-house and a Scarlet on the way. Keep that in mind…
The Canon C300. At first hated on by many in the online world, then the camera found a resurgence of positive press with blog/filmmaker superstars posting their positive impressions. Being in Denver means that the “new” camera demos here will always months later. In any case, I finally got to touch and hold the C300.
Ergonomics
a) Weight – The camera is surprisingly light. A nice handheld feel to it, much MUCH better for video than any DSLR setup. I was able to do some fairly smooth “jib” moves just by properly holding the camera, and warp stabilizer would easily take you the rest of the way.
b) LCD – The LCD rotates 270 degrees, up down, mirrors, it’s removable, it’s awesome all around. Bravo Canon.
c) 3D – For 3D setups, the handle, LCD, and side handle all come off. The camera gets quite small. (like the Epic!)
d) Buttons – Canon has done a pretty good job with buttons. AFter some familiarity, I’m sure it would be cake. The Alexa still is the king of simplicity.
e) Back LCD Much like the 5D and other DSLRs, the C300 has a LCD on the back that lights up. Nice to do quick status checks, see audio levels, etc.
f) Hot swapable Compact Flash Cards. Saves you cash on media, that’s a plus.
g) The XLRs that mount near the LCD screen on the top are… well, I would imagine you’d have to do some cable management. Not my favorite position for XLR.
h) The rotating arm on the side comes off. I thought it would be like my Sony EX1R… a nice quick release button and do a quick-action snap! Not so! You have to loosen the ring next to the handle, then the handle practically comes off, then you have to tighten again. Not exactly easy when you’re holding the handle to begin with. This could have been better designed.
i) Size. Size is a plus.
C300 next to 5Dmk2
Image
a) ND comes in 2, 4, or 6 stops and is controlled by pushing a + or – button. It’s electronic (EDIT: Electronically controlled, it’s still an Optical filter, thanks Gregory) which I guess is nice because apparently it won’t get stuck like a mechanical ND, though I haven’t had that issue on any of my cameras…
The compression of my cell phone took out some noise from a picture of the 3" screen. not a great representation
b) ISO – People are ranting and raving about the amazing 20,000 ISO on the camera. I don’t see it. I cranked the camera to 20,000 (using 6 stops of ND indoors lol) and it was crazy noise. Sure, it’s relatively amazing, but I wouldn’t shoot anything at 20,000. Maybe some filmmakers think the noise “looks like film”. To me, it looked like noise. However, that said, it did look VERY clean around ISO 4000/5000. That’s impressive. The camera is rated natively at 640 in regular mode and 850 in Canon’s log mode, so there’s lots of room to play there. We can replace our 2k’s with cell phones and shoot with the moon instead of the sun.
c) Speaking of log mode, Canon has an interesting “cinema lock” setting that locks you into 24p and canon’s log mode. I recently read on a blog that Sony’s S-log still retains more information, and for a $3000+ upgrade, it darn better! But there was a big noticeable difference when switching from “standard” to the “log” mode on Canon, and my suspicion is that the 50mbps 4:2:2 codec inside helps with highlight control.
50mm f1.2 and c300
d) DoF – There were several C300s at the demo, and one of them had the Canon 50mm F1.2. Needless to say, RIDICULOUS depth of field. It’s like shooting with a macro lens…except your subject is 8 feet away! Luckily, Canon has included several focus modes. Peaking, we’re all familiar. Magnification, we’re all familiar, and they also included a new mode that uses contrast in three squares that show a vectorscope at the bottom of the screen to determine focus. When the vectorscope is at it’s highest point, the image has the most contrast within the red square on the screen and you know you’ve found critical focus. Very cool. Apparently this is also on the XF305, but I haven’t shot with that camera so I wouldn’t know!
e) Manual mode only! One thing that’s too bad about the EF versions of these C300′s is they are ONLY manual mode. No auto anything (except xlr audio). No auto focus, no support for the IS, it’s almost like a dumb mount, updated: IS and lens metadata are supported along with control of the aperture on EF lenses.
f) 8 Bit out SDI. No need to beat a dead horse, but seriously!??! Really Canon?!? maybe it doesn’t matter. Or maybe it’s of critical importance to sales.
Price
The street price is still unknown. To me, this is where the camera will fall short. It has a great image, it’s fun to hold, great design etc etc, but I’m not ready to pay any more than $8000 for it. I still think an F3 shooting out 10bit 4:4:4 is the champ for price, even though the ergonomics of the F3 body are janky. It’s 8-bit out only which is FINE for most stuff… but I still feel a bit cheated somehow. And the fact that you have to choose between EF OR PL mount… I have both! Hate to plug the Epic here… but being able to switch mounts is a HUGE plus.
James Drake is a Colorado DP living in Denver, Colorado and shooting beyond. He’s shot for broadcast television, short and feature films, commercials, and more.
2011 Reel
James owns a Red Epic package, a Sony EX1R, Canon DSLRs, and various other cameras and is familiar with many more.
To see a list of what James has been working on recently, click here.
