Canon & Sony playing nice together

Photo: Sean Barnes

Producer, Shooter & Editor. Photo: Sean Barnes

After 5 days shooting a big banking expo in Boston, I’ve had loads of fun ‘camera spotting’.

Shooting at exhibitions is one of my main activities, and the mixture of run & gun, pack shots, interviews, talking heads and candid videography provides us with very strong opinions of what kit works well. Even down to choice of batteries or lighting stands. And what to wear. But I digress.

I saw big ENG cameras, little GH4s, loads of iPads (!) and even a brave soul with a tricked out Black Magic Cinema camera complete with beachtek audio interface, follow focus and matte box. It’s not the first time I’ve seen a BMCC used at a trade show, but to my mind it does take a bit of a leap of faith to wrestle one of these specialist cameras into service in such an unforgiving environment.

Expo shooting requires kit that doesn’t wear you down – you’ll be on your feet all day, and scooting from booth to booth. You don’t want to be weighed down by too many batteries, and you’ll need plenty of media. Plans change, things happen, and sudden opportunities crop up that might be missed if you need to change lenses or power up a complex camera. Everything has to be quick to deploy yet reach your expectations in picture and sound quality.

In many scenarios, you might not even have a secure base from which to keep bags, chargers and ‘special’ kit (long XLR and power cables for example). Suddenly, you’re in a sort of quasi-military mode, where you’re scooting around with the camera, a tripod, a lamp, some sound kit AND your backpack full of editing machine, hard drives, plus all the other bits and bobs you’ll need throughout the day. 12 kilometres per day with 40lb strapped to your back isn’t quite in Marines territory, but even so…

My go-to camera on these gigs has been the Sony EX1-R, and the magic addition of a spider dolly on the tripod – the little shopping trolley wheels. This enables you to scoot your camera and tripod around, whilst carrying an XLR cable, 416 stick mic and Sanken COS-11 lapel mic, headphones, batteries and water bottle in a ScottEvest ‘wearable office’.

Pretty much every videographer I meet looks at the spider dolly and immediately wants one. It truly adds so much value to your day’s work – and if the floor surface allows it, you can even get a few nice ‘dolly moves’ too – tracking shots, rotating around someone or something – though not all surfaces are up for it.

Due to the cost of carnets, shipping and so on, I rented my main camera from Rule Boston: a Sony PMW300. This is the replacement to the venerable Sony EX3, and bridges the gap between my EX1’s ‘little black sausage of joy’ design and a traditional shoulder mount ENG camera. I became very enamoured with the PMW300’s shoulder mounted ergonomics, thanks to its clever viewfinder design. The EVF is removable, unlike the EX3, so it can be packed into a airline carry-on bag or Peli case, with room for accessories, batteries, charger, etc.

It seemed to be almost a stop faster than the EX1, though I have not put them side by side. I didn’t seem to be using +3 and +6db gain as much as I do with the EX1, and shooting time-lapse outdoors with a 16 frame accumulation shutter actually required -3dB as I ran out of ND and didn’t want to go above f8 on the iris due to diffraction.

There was a little more heft than an EX1, but the pull-out shoulder pad and well placed EVF provided good balance and took some of the weight and strain off the right hand. All controls fell under my fingertips – it’s ‘just another Sony’ in that respect. Even though it was my first time with the camera, under stressful conditions, I was never hunting for controls or jacks. Switching between 1 mic at 2 levels, and two mics with independent level control, to mic plus line feed from mixing desk was simple and quick. I couldn’t say for sure if the mic pre-amps were better than the EX1-R, but I was never struggling with gain/noise even though expos are notorious for horrendous external noise.

There have been some changes to the menu structure, and flipping between ‘timelapse’ mode and ‘candid’ mode required a few more steps than I thought was necessary. Choosing the accumulation shutter requires a walk through all the available speeds rather than it remembering your settings and using a simple on/off toggle. Small point, but it makes a difference for operators in our game.

The PMW300 came with the K1 choice of lens – like the EX3, you can remove it and replace with a wide angle zoom or the new K2 option of 16x Funinon zoom. It doesn’t go any wider – just provides you with a little extra reach at the telephoto end. In the world of expo videography, wide angles are very valuable, though. Often you’re at such close proximity it’s hard to get the ‘scope’ of an expo booth, and as you pull back, your foreground fills with delegates.

This is why I brought my Canon C100 with me. It got a lot more use than I thought. I brought it primarily for talking heads and interviews – for that S35 ‘blurry background’ look with my 17-55 f2.8 and 50mm f1.4. In fact, most of the time, it wore my Tokina 11-16mm wide angle, which did wonderful things for the booth shots. Sony’s PMW Fujinon lens design has quite a bit of barrel distortion at the wide end, and I remember the ‘shock and awe’ of using the Tokina for the first time on my Canon 550D – very good distortion control and tack sharp.

We also had a few presentations to capture with two cameras – the C100 unmanned on the wide, whilst I operated the PMW300 on close-up. These setups were in dark, dingy and drearily lit ‘breakout’ rooms barely lit by overhead fluorescents. Absolutely no chance of extra lighting. This could have been a disaster with ‘panda eyes’ on presenters, but both the C100 and the PMW300 have gamma curves which really help in these circumstances.

This brings us neatly to another ‘trick’ – after all, we have two very different cameras from two separate manufacturers – how on earth are we going to match them?

Whilst I probably wouldn’t want to attach the two to a vision mixer and cut between them live, I could get both cameras surprisingly close in terms of picture ‘look’ by using CineGamma 3 on the PMW300 and Wide Dynamic Range on the Canon. I also dialled in the white setting by Kelvin rather than doing a proper white set. The Canon’s screen cannot be trusted for judging white balance anyway – you need a Ninja Blade or SmallHD or similar trustworthy monitor for that. The Sony’s screen is a little better, but with a slight green tint that makes skin tones look a little more yellow than they appear on the recordings. I don’t mess with the colour matrix on either camera because you need trustworthy charts and constant access to a grade 1 or 2 monitor to do that – and this is where you’d be able to match both cameras for seamless vision mixing.

Suffice to say that in these circumstances, we need to achieve consistency rather than accuracy, so one simple colour correction on each camera will bring them both to a satisfactory middle ground. That’s how the Kelvin trick with the CineGamma 3 and WDR works. Neither are perfect ‘out of the box’ but they are sufficiently close to nudge a few settings and do a great match.

But once again, here’s another important learning point. Because we were creating a combination of Electronic Press Kits, web-ready finished videos and ‘raw rushes’ collections, our shooting and editing schedules were tight. We’d shoot several packages a day, some may be shot over a number of days. We didn’t have time for ‘grading’ as such. So bringing the Sony and the Canon together so their shots could cut together was very important.

The Canon C100’s highlights were sublime. Everything over 80IRE just looked great. The Sony’s CineGamma was lovely too, but the Canon looked better – noticeably better when you’re shooting ‘beauty’ shots of a booth mostly constructed out of white gauze and blue suede. The PMW300 did a great job, and really you wouldn’t mind if the whole job was captured on it, but the C100 really did a great job of high key scenes. Such a good job that I’d want to repeat the PMW300/C100 pairing rather than a double act of the PMW300 with a PMW200. If you see what I mean.

There was one accessory that we ‘acquired’ on-site that deserves a special mention. It’s something that I’ll try and build into similar shoots, and to any other shoots I can get away with. This accessory really added a layer of sophistication and provided a new kind of shot not necessarily seen in our usual kind of videos. The accessory is not expensive to purchase, but there are costs involved in transport and deployment.

This new accessory – this wonderful addition to any videographer’s arsenal of gizmos is… a ladder. Take any shot, increase the height of the lens by about a meter or so, and witness the awesomeness! Yes, you need (you really must have) a person to stand by the ladder, keep crowds away, stabilise it, be ready to take and hand over your camera, but… wow. What a view!

Ninja Blade – 2:2 Pulldown with Canon C100 Fixed

ninjabladeUPDATE: 2:2 PULLDOWN FIXED IN AtomOS 5.1.1…
Early adopters frequently find little snags that are quickly patched, and this week is no different. I have taken delivery of the new Ninja Blade recorder last week.

It’s an awesome piece of kit for the C100 user – but when I record 25PsF, I noticed that the images are shifted two pixels to the left with a black line running down the right hand edge.

Atomos support are on the case have fixed it, they suggest we update to version 5.1.1 here. we keep the C100 set to 25PsF and set the Ninja Blade to 50i. In FCPX and Premiere (I don’t use Avid) simply do the 2:2 pulldown trick by treating it like AVCHD footage, manually switching the files from interlaced to progressive as described in PSF – the fix.

As a C100 user, I am very impressed by the Ninja Blade in a number of areas:

  • screen quality and fidelity with the option to calibrate
  • ability to use a LUT when shooting C-Log
  • audio meters that put the C100’s to shame
  • waveform monitor and vectorscope
  • shot logging features – both live and after the shoot

Combine all this with very low power consumption, a lightweight chassis and a wide range of media choices, it closes the gap between the C100 and C300.

I’ll do an in-depth review when I’ve cleared my current workload, and I’ll go into a bit of depth over the shot logging facilities which will really make a difference to shooting interviews and long form events such as presentations and conferences.

But not now. I really should be editing! Until then, remember the 50i to 25p trick.


Well, it’s easy to deal with this little inconvenience in PAL-land. If you shoot in 24p or 23.976 PSF mode, you’ll find the same black line, so you’re recommended to shoot in 59.973 and you’re on your own.

So, whilst I don’t shoot for 24p or 23.976 most of the time,  when I shoot 29. 973 it’s fairly easy. So I had to find a solution that would make shooting 24p (or 23.976) work. It appears that the only way is to transcode the rushes. So…

With a drum roll and a nod to Abel Cine and all those who got there before me, here’s an Apple Compressor droplet that sorts your Ninja rushes out before you import them:

Apple Compressor Droplet.

C100 Chroma Subsampling – the fix

c100The C100’s AVCHD is a little odd – you may see ‘ghost interlace’ around strong colours in PsF video. AVCHD is 4:2:0 – the resolution of the colour is a quarter of the resolution of the base image. Normally, our eyes aren’t so bothered about this, and most of the time nobody’s going to notice. However, stronger colours found in scenes common to event videographers, and when ‘amplifying’ colours during grading, all draw attention to this artifact.

Note that this problem is completely separate from the ‘Malign PsF’ problem discussed in another post, but as the C100 is the only camera that generates this particular problem in its internal recordings, I suspect that this is where the issue lies. I’ve never seen this in Panasonic or Sony implementations of AVCHD.

This is a 200% frame of some strongly coloured (but natural) objects, note the peculiar pattern along the diagonals – not quite stair-stepped as you might imagine.

Please click the images to view them at the correct size:

There are stripes at the edge of the red peppers, and their length denotes interframe movement. These artefacts illustrate that there’s some interlace going on even though the image is progressive.

Like ‘true’ interlacing artefacts, these stripey areas add extra ‘junk information’ which must be encoded and compressed when delivering video in web ready formats. These are wasting bitrate and robbing the image of crispness and detail. Reds are most affected, but these issues crop up in areas of strong chrominance including fabrics, graphics and stage/theatrical lighting.

Some have pointed the finger of blame at edit software, specifically Final Cut Pro X. I wondered if it was the way FCPX imported the .MTS files, so I rewrapped them in ClipWrap from Divergent Media. In version 2.6.7, I’ve yet to experience the problems I experienced in earlier versions, but the actual results seem identical to FCPX:

For the sake of completeness, I took the footage through ClipWrap’s transcode process – still no change:

So the only benefit would be to older computers that don’t like handling AVCHD in its natural state.

To isolate the problem to the recording format rather than the camera, I also shot this scene on an external recorder using the Canon’s 4:2:2 HDMI output and in recorded in ProRes 422HQ. The colour information is far better, but note the extra noise in the image (the C100 includes noise reduction for its AVCHD recordings to help the efficiency of its encoding).

This is the kind of image one might expect from the Canon C300 which records 4:2:2 in-camera at 50 Mbits per second. Adding an external recorder such as the Atomos Ninja matches the C300’s quality. But let’s say you don’t have the option to use an external recorder – can the internal recordings be fixed?

RareVision make 5DtoRGB – an application that post-processes footage recorded internally in the 4:2:0 based H.264 and AVCHD codecs, and goes one further step by ‘smoothing’ (not just blurring) the chroma to soften the blockiness. In doing so, it fixes the C100’s AVCHD chroma interlace problem:

The results are a very acceptable midway point between the blocky (stripey) AVCHD and the better colour resolution of the ProResHQ. Here are the settings I use – I’ll do a separate guide to 5DtoRGB in a separate post.

The only key change is a switch from BT.601 to BT.709 (the former is for US Standard Definition, the latter is for all HD material, a new standard is available for 4K).

So why should you NOT process all your C100 rushes through 5DtoRGB?

It takes time. Processing a 37 second clip took 159 seconds (2 mins 39 seconds) on my i7 2.3 GHz MacBook Pro. Compare that with 83 seconds for ClipWrap to transcode, and only 6 seconds to rewrap (similar to Final Cut Pro’s import).

You will have to judge whether the benefits of shooting internally with the significant transcode time outweigh the cost of an external recorder and the inconvenience of using it. You may wish to follow my pattern for the majority of my non-chromakey, fast turnaround work, where I’ll shoot internally, and only when I encounter difficult situations, opt to transcode those files via 5DtoRGB.

I’ve also been investigating the use of a ‘denoiser’. It’s early days in my tests, but I’ve noticed that it masks the ‘interlaced chroma’ stripe pattern is effectively hidden:

This is not a panacea. Denoising is even more processor intensive – taking a long time to render. My early testing shows that you can under- and over-do it with unpleasant results, and that the finished result – assuming that you’re not correcting a fault, but preparing for a grade – doesn’t compress quite as well. It’s too slick, and therefore perversely needs some film grain on top. But that’s another post.