Sound for Video Session: Timecode Systems UltraSync Blue Demo
In this week’s session, we take a look at a wireless timecode generator you can use to make syncing audio and video from your mobile phones and tablets quick and easy: The Timecode Systems UltraSync BLUE.
The BLUE can send timecode to up to 4 devices at the same time and can also connect wirelessly to UltraSync generators attached to cinema cameras or professional level audio recorders.
At the time of this review, the compatible apps are for iOS, available in the App Store:
Apogee MetaRecorder (audio recording app)
Mavis (Cine style camera app)
Gear and links discussed/used to record this episode:
Timecode Systems UltraSync BLUE - Bluetooth wireless timecode generator
Sennheiser ClipMic digital (Amazon) - used to record the talking head clips into the MetaRecorder app
Electrovoice RE20 (Amazon) Dynamic Broadcast Microphone - used to record the voice over for the screen cast portion
Universal Audio Apollo x6 USB-C/Thunderbolt 3 Audio Interface - used to record the voice over for the screen cast
Copyright 2018 by Curtis Judd
Outro music licensed from Artlist: Keep an Eye by Back to Dream
MOZA AIR 2: How to Balance & Mini Review
Single handle motorized gimbals for interchangeable lens hybrid and DSLR cameras have come a long way over the last few years. The original MOZA AIR was really good for the smaller ILM cameras and had a great app for remote control and time-lapse. The newest gimbal from MOZA, the AIR 2, is a nice step forward in a lot of ways. It can handle much heavier payloads, uses separate axis controls rather than “modes”, impressive battery life, a new shorter pan arm which makes it easier to see the screen on your camera and quickly and smoothly go to a low shot.
In this episode, we cover how to balance your camera on the MOZA AIR 2 and do a mini review.
If you’d like to learn how to make great dialogue audio for your film and video projects, please have a look at my courses including processing dialogue audio, recording sound, how to use the Zoom F8 and F8n, and how to get the most from the Sound Devices MixPre series of recorders.
Links to gear used in this video:
Gudsen MOZA AIR 2 Gimbal for Interchangeable Lens Hybrid and DSLR Cameras
Blackmagic Pocket Cinema Camera 4K - I used this to record most of this episode
Aputure COB120dmkII (Amazon) - Key light in the talking head clips
Aputure Light Dome II (Amazon) - Newer version of the big soft box with faster setup and gel holder
Lupo Superpanel Full Color 30 - RGB 1x1 LED panel light
Panasonic 12-35mm F/2.8 OIS (Amazon) Lens - Used on the GH5 gimbal shots
Panasonic GH5 (Amazon) Camera - Used on the gimbal shots
Glider Pro 3 4th Axis Dual Handles by Scotty Makes Stuff - Review coming soon
Copyright 2018 by Curtis Judd
Music Copyright 2018 by Cary Judd. Used with permission.
Upcoming Reviews After a Short Break
After five years of producing a new video nearly every week, I need a short break just to catch up on a ton of things that have been neglected and recharge a bit. We've got a bunch of interesting reviews coming up after the break:
Sony ECM-674 Shotgun Microphone
Centrance MixerFace R4 - 4 channel XLR/3.5mm TRS Mixer/USB Audio Interface. Great for mobile recording
JK Mic-J Headset Microphone
Moza Air II - Coming soon
Scotty Makes Stuff Glider Pro 3 Duo - 4th Axis Stabilizer for motorized gimbals (like the Zhiyun Crane 2)
Aputure Light Dome II - Softbox for the Aputure COB series of lights or any light with a Bowens mount
Aputure Light Dome Mini II - Smaller softbox for the Aputure COB series of lights or any light with a Bowens mount
Portkeys HS7T On Camera Monitor - HD high brightness screen with HDMI and SDI inputs. Can read 4K signal via HDMI - Coming soon
Copyright 2018 by Curtis Judd
Music Copyright 2018 by Cary Judd. Used with permission.
A Gimbal for Your Gimbal: DigitalFoto DH04 Dual Spring Handle
Gimbal shots are super popular and can add a lot to your film or video project when the motivation for camera movement is right. But one issue I’ve run into time and again is that I can still see the bouncing as the camera operator takes steps. The DigitalFoto DH04 Dual Spring Handle can help solve that problem
Links to gear used in this episode:
DigitalFoto DH04 Dual Spring Handle for single handle gimbals
Zhiyun Crane 2 three axis motorized gimbal - My current favorite gimbal for small cameras
Panasonic GH5s Camera - my favorite small camera for video
Amazon: http://geni.us/hnP75j
Panasonic 12-35mm f/2.8 OIS Lens - this is the the lens I use more than any other on the GH5s
Copyright 2018 by Curtis Judd
Outro music licensed from Artlist: Call on Me by Kick Lee. Artlist provides high quality music tracks for your film and video projects. You can receive two months off an Artlist account by using our link.
Warranties, Repairs, & Workflows
This is an informal episode where we talk about the challenges that filmmakers face: False economies, gear warranties and repairs, and a high-level review of my product review workflow.
Links to gear discussed and used to shoot this episode:
Audio Technica AT2005 Dynamic Handheld Microphone
Blackmagic Ursa Mini Pro cinema camera
Panasonic GH5S - My favorite small camera for video
Panasonic 12-35mm f/2.8 OIS Lens - incredibly versatile lens that is on the GH5 most of the time
Copyright 2018 by Curtis Judd
Music - MzA - Copyright 2017 by Cary Judd, used with permission
5.7" Flippable HDMI Monitor: AndyCine A6 Review
When shooting video, I find it much easier to compose great shots, hit focus, and correctly expose when I have a monitor a little larger than most cameras with some tools to help. The AndyCine 5.7” monitor is a budget monitor with a unique cold/hotshoe mount which allows you to flip it to the front of the camera when shooting selfie/vlog style. What’s more, is that it can also power several Panasonic and Sony mirrorless cameras with an add-on dummy battery so you can use larger capacity Sony NP-F style batteries for longer battery life.
Links to gear discussed and used to shoot this episode:
AndyCine A6 5.7” Flippable HDMI Monitor
Amazon US Amazon UK Amazon DE Amazon FR Amazon IT Amazon ES Amazon CA
AndyCine Dummy Battery for Panasonic GH Series Cameras
AndyCine Dummy Battery for Sony a6xxx Series Cameras
AndyCine Dummy Battery for Sony a7III, a7RIII, and A9 Series Cameras
AndyCine Dummy Battery for Canon DSLR 5D, 6D, 7D, and 80D Series Cameras
Sony NP-F Style Batteries to power the A6 and your camera
NP-F Battery Charger
Sennheiser MKH8050 Boom Microphone - this is the microphone I used
Aputure COB 120t - This is the light I used as a key in the talking head clips
Aputure Light Dome Soft Box - Used to soften the key light
Lupo DayLED Fresnel Light with Barn Doors - Used for the “rim/hair” light
Blackmagic design Ursa Mini Pro Cinema Camera - used for some of the product shots
Sigma ART 24-70mm f/2.8 OS Lens (Canon EF Mount)
Panasonic GH5 - Used for some of the product shots
Panasonic 12-35mm f/2.8 OIS Lens - incredibly versatile lens that is on the GH5 most of the time
Copyright 2018 by Curtis Judd
Music - MzA by Cary Judd, used with permission
Zhiyun Smooth 4 Smartphone Gimbal Stabilizer
Zhiyun-Tech released their latest generation gimbal for smartphones - the Smooth 4. The headline feature on this new stabilizer is a big, nicely damped zoom/focus knob that allows you to zoom and focus your phone’s camera without touching the phone! There are several other really nice features including manual exposure mode, standby mode, motion timelapse, and the kit comes with a tripod. I have to confess that the Smooth 4 makes shooting video with my phone a lot of fun!
All of the gimbal shots in this video were shot with the iPhone 7+.
Check to see if your phone is supported at Zhiyun's site under downloads.
Links to gear discussed and used to shoot this episode:
Zhiyun Smooth 4 Stabilizer Gimbal for Smartphones
Aputure COB 120d - This is one of my main workhorse lights. Not a week passes where I don’t use it for at least one shoot
Aputure COB 120t - When I don’t have to match existing light, I prefer to use this as my key light. Really nice, warm skin tones
Aputure Light Dome Soft Box - When I need a nice, soft light on the face of the talent in an interview or talking head video, this goes on the COB120 key light
Lupo DayLED Fresnel Light with Barn Doors - These are useful when I need hard light as well. I don’t have soft boxes for them so they’re not quite as versatile as the Aputure COBs, but really great lights with a super durable build. 650, 1000, & 2000 in daylight, tungsten, or bi-color
Blackmagic design Ursa Mini Pro Cinema Camera - used for the talking head shots in this episode
Sigma ART 24-70mm f/2.8 OS Lens (Canon EF Mount) - this lens is almost always on my Ursa Mini Pro
Panasonic GH5 - Used for some of the product shots
Panasonic 12-35mm f/2.8 OIS Lens - incredibly versatile lens that is on the GH5 most of the time
Copyright 2018 by Curtis Judd
Music - MzA by Cary Judd, used with permission
Which Gear Should We Review - NAB 2018
Which gear should we review next? At the 2018 National Association of Broadcaster’s Show, we saw some interesting new audio, lighting, and camera gear. Here’s a quick look at the highlights. Let us know which of these you’d like us to review!
This episode shot with the following gear:
Sennheiser MKH8050 Microphone
Sound Devices 633 Audio Recorder/Mixer
Blackmagic Design Ursa Mini Pro Cinema Camera - Used for the talking head clips
Sigma ART 24-70mm f/2.8 OS Lens (Canon EF Mount)
Panasonic GH5 - Used on the NAB show floor
Panasonic 12-35mm f/2.8 OIS Lens - incredibly versatile lens that is on the GH5S most of the time
Copyright 2018 by Curtis Judd
Music - MzA by Cary Judd, used with permission.
ATOMOS Ninja V ProRes and Avid Recorder: NAB 2018
ATOMOS makes HDMI/SDI recorders with very nice monitoring capabilities along with focus and HDR exposure tools. Up until NAB 2018, they've made 7" and 19" monitors. But now they've announced their first 5" monitor/recorder with the capabilities of their Inferno line of recorders (top of the 7" lineup) - Focus, exposure, high frame rate, and HDR tools as well as ProRes and Avid DNxXX recording. This makes shooting and editing faster and with high bitrate and high quality codecs that playback smoothly so you don't have transcode.
Now why would you want to use a recorder like this? Here's why I use them:
Gear covered and used to shoot this episode:
ATOMOS Ninja V 4K HDMI HDR Recorder Monitor (coming Q3 2018)
RODE Reporter Microphone
RODE iXLR Adapter (Record a dynamic XLR microphone to iPhone or iPad)
Panasonic GH5 - My favorite, small camera for handheld use with a great image stabilizer
Panasonic 12-35mm f/2.8 OIS Lens - incredibly versatile lens that is on the GH5S most of the time
Copyright 2018 by Curtis Judd
Music - MzA by Cary Judd, used with permission.
ProRes Raw
Today Apple announced a new version of their ProRes video codecs: ProRes Raw (and Raw HQ). The reason this is significant is that capturing raw footage on cinema cameras poses two main problems: 1) Massive, massive file sizes that can only be captured to the fastest cards and drives which are, of course, quite expensive and 2) Cannot generally be played back without first de-bayering or rendering in post (before you edit).
Of course there have been proxy workflows for a long time to get around this where the camera records raw plus a much lower quality proxy file at the same time. You do your edit with the proxy files and then once you've completed your edit, you swap out the proxies for the de-bayered raw files. It's a workable, but less than ideal workflow.
Since I bought my first ATOMOS recorder in about 2012, I've appreciated the benefits of working with a ProRes workflow (my Ninja II recorder took an HDMI feed from my DSLR and recorded a ProRes file to an SSD drive). This was a nice compromise solution because it captured slightly higher quality footage, but could still be edited without re-rendering the files. It wasn't raw, but it was pretty darn good in terms of quality.
Now, we can have the best of both worlds. And Apple also has a new update of Final Cut Pro X that plays back ProRes Raw footage in real time!
But then there's the problem of how to record ProRes Raw. This is where ATOMOS delivers. Their Sumo19 and Shogun Inferno can both record ProRes Raw with the new firmware update which will be released on Monday, April 9th, 2018.
Of course you'll also need a camera capable of sending a raw signal to the ATOMOS recorder. Out of the gate, the Sumo and Shogun Inferno will have support for the following cinema cameras:
- Canon C300mkII, C500
- Panasonic EVA1, Varicam LT
- Sony FS5, FS7
I haven't shot a lot of raw simply because the workflow was too heavy for most of my work, with an occasion exception for "beauty shots" - e.g., an outdoor landscape with plenty of sky, deep shadows, and incredibly wide dynamic range. That may just change here really soon. I'm looking forward to seeing how the new workflow pans out.
Now what we need is an affordable playback device for HDR so we can use that Sumo as an HDR grading monitor (at least roughly decent HDR monitoring). AJA's monitoring converter box comes in at $2500 USD presently. I'm hoping for something in the sub $1000 range soon so I can put this Sumo to work in post.
See Apple's white paper on ProRes Raw here.
See see the details on ATOMOS's ProRes implementation on the Shogun Inferno and Sumo here.
