Useful Information from VMI
ARRI Alexa, all you need to know about the Alexa range of cameras
ARRI recently announced the introduction of a new Alexa camera series, the ‘XT’ which has a different on board recording module compared to the other established cameras in the series and will replace this range. As the Alexa range is now effectively a ‘fleet’, we at VMI feel at this stage a short précis of each camera’s parameters and functionality is appropriate in order to enable producers and production companies to target the correct package at an early stage of preparation.
The Case for HD - Pros and Cons
An essay arguing the case for and against 4K. 1. What is 4K 2. Do we need 4K 3. When is 4K not 4K 4. Challenges of 4K acquisition 5. Viewing 4K 6. 4K delivery to end users 7. How long with penetration take
Sony FS-700 4K slow motion with RAW to 240fps/120fps
Sony's FS-700 will permit slow motion ramping in 4K and 2K to 240fps using RAW with IF5 interface and AXS-R5 external recorder (release date Summer 2013)
Producer’s guide to the pros and cons of shooting in 4K
A Producer’s guide to the pros and cons of shooting in 4K What is 4K? Why 4K? What Shoots in 4K? 4K options currently 4K External Recorders Technical difficulties The Glass Conclusion
Archive of past VMI emails
Here is a list of past VMI Emails sent in our monthly email out.
Why are Zeiss MasterPrimes so Good?
DoPs will tell you that lenses are what really count in a quality production to influence not only the look and depth of field of the programme but how different designs of lenses can also influence close focus shooting as well. A short synopsis to explain just why MasterPrimes are so good.
The VMI Guide to Easy Streaming
It has never been so easy to stream directly to the internet from a live video source. This article will explain in easy steps the equipment and applications needed in order to arrange a live webcast and what to expect when you do this for the first time.
Types of Prores Codecs
The Apple ProRes format comes in five versions: Apple ProRes 4444, Apple ProRes 422 (HQ), Apple ProRes 422, Apple ProRes 422 (LT), and Apple ProRes 422 (Proxy). This is an overview of their specifications
Everything that you wanted to know about Large Sensor Cameras but were too afraid to ask!
There is such a selection of large screen cameras now, all promising to achieve the elusive ‘film look’, that it can be hard for film makers to make an informed choice in the selection of choosing the right combination of camera and lenses. This short article aims to illustrate the main differences between the current range of cameras in order to help you make that choice!
RED EPIC vs RED Scarlet - What you need to know!
Both are made by RED sharing the same impressive 5K Super-35 sensor but the Epic costs twice as much. This article explains the differences between them and their best environments for production
iPhone_App
The VMI app is a must have for programme makers in the UK. It is an app for creating Broadcast HD shooting packages for rental in London and allows you to download and browse the entire VMI equipment database remotely, share shooting packages with other users on iPhone and over the web and lots more!
The Aesthetics of Digital Cinema vs. Film
ACQUISITION: THE EMULATION OF THE PHYSICAL AND CREATIVE CHARACTERISTICS OF 35MM FILM IN THE DIGITAL DOMAIN. Usually at VMI, we make articles really easy for people to read but the inclusion of this essay this makes no apology for being a Master's level exploration about the aesthetic merit of film vs digital cinema! This essay is reproduced here by permission from VMI's own Ian Jackson (Assoc. BSC) as his master's thesis for which he was graded with distinction - well done Ian! As Hollywood embraces digital cinema, the convergence of hardware from information gathering sectors of the media strengthens, with blockbusters such as ‘The Curious Case of Benjamin Button’ (Fincher, 2008) and ‘Avatar’ (Cameron, 2009) shot with smaller chip documentary style cameras. However, the most recent and telling trend (and a return to miniaturisation) is for DSLR cameras to support full (2k) high definition recording at progressive frame rates, thus providing full 35mm sensor acquisition (and in the case of the Canon 5DmkII, a Vistavision size sensor) in an incredibly small package. The irony is that this accessibility to the hardware of cinema does not necessarily guarantee a cinematic product; shallow depth of field requires craftsmanship to be used in any narrative context. Godard’s ‘35mm camera in the glove box’ exists for everyone to use now, but we need to understand the century of technique behind film acquisition before we can use it as a cinematic tool.
Solid State HD Recorders
An introduction to HD Recorders, their advantages, specifications and overview. Discussion to help to decide on which HD recorder is appropriate for a given production.
DSLR Production
This article describes how modern DSLR Cameras are now a practical consideration for shooting productions with excellent results on a low budget.
Shallow Depth of Field good for streaming
A shallow Depth of Field can reduce the bandwidth requirement of video, which is good for the internet. We wanted to test this theory and this article explores this idea and concludes that you can save around 10% bandwidth by shooting with a large sensor camera compared with a small sensor camera, as the shallow depth of field means that you capture only the bits that you want in fine detail and as background is defocused.
Low Energy Lighting
VMI are always following trends in technologies of TV production techniques and the field of lighting hire is no exception. Conventional production methodologies require large lighting units which require large trucks. Inefficient lighting technologies use large quantities of power which are beyond the conventional 13A ring mains, so generators are required. This means bigger trucks and specialised sparks, best boys etc and this has an inevitable effect on budget. The new generation LED lights and cool lights reduce size of device and power requirements. VMI recognise that it you can plus all lights into 13A plugs, then this will have a dramatic effect on cost, by doing without a genrator and really big truck! The BBC has already thought about this and this white paper is brought to you here for your convenience. Barry Bassett VMI
Non-linear workflows
All modern cameras shoot on removeable media these days and you need to be prepared to adopt best practise for acquisition, data workflow and post production to get the most of your programme, whilst maintaining media security.
Useful RED Links
RED Links and Resources VMI RED Equipment for rental VMI RED DIT Training Coursese OFFICIAL RED CAMERA USER FORUM DISCUSSION OF REDCODE COMPRESSION AND ARTIFACTS REDCODE 28 vs 36 4K 16:9 vs 4K 2:1 vs 4K HD DATA TRANSFER WITH AND WITHOUT CHECKSUMS MONITOR OUT COLOUR INACCURACIES CAMERA WON'T RECOGNISE DRIVE HDMI MONITORING STROBING WHEN PANNING
P2 and AVCCAM Links
P2 and AVCCAM contents manager software and drivers.
H.264 and Why is AVC Intra is so good!
Panasonic's AVC Intra codec works with the Panasonic HPX250, HPX-3000, HPX-3100, HPX-2700 and HPX-3700 and the quality compares with the Panavision Genesis and HDCAM SR, which makes it the best format for chroma key around – this explains why
RED M-X Guide
A no-nonsense guide to using the fab new RED One Camera
Useful RED Information
Useful RED Information 1. Role of the D.I.T 2. IR and RED 3. Good Red Practice 4. Troubleshooting/Bugs
The Film Look on a Budget
How modern 35mm adapters have enabled a new range of 35mm optics to be used on popular consumer and prosumer camcorders to very good effect.
HD and Film Lenses
An outline guide to HD and film lenses
VMI Guide to Tapeless Acquisition & Workflow
HD Tapeless Workflow Seminar presented by VMI Managing Director, Barry Bassett at the London Broadcast and Video Expo Thursday 19 Feb 2009.
Choosing a Digital Format
Helping you to choose a digital format – completely revised Dec 08
DVCPro HD
Outline of the popular DVCPro HD format and HDX-900 Camera
Whether to use P2 or not over XDCAM HD
FAQ from clients about using P2: I have to say, that on shoots where we don't have a data wrangler (all of them), I've found working with XDCAM discs infinitely better than p2 cards. Offloading several 100mbs p2 cards at the end of the shoot has added sometimes 3hrs to the day. We need to find a better workflow! I understand this BUT it is different now. This is because P2 is traditionally 100Mb/second but shooting on AVC Intra 50Mb/s is the same data size as XDCAM HD ((50Mb/second), so the data is the same size. Modern transfer tools such as Nexto DI http://vmi.tv/equipment/8/accessories/512/nexto-di-nvs-2525-standard-video-storage-pro-hard-diskarchive-unit , work at eSATA speeds and take all of the pain out of the transfer. You won't suffer any of the problems of close focus of the XF-305 and you won't need an external recorder either. The BBC's passing of the HPX-250 will make an easier camera available and the new data workflow makes it practical too!
P2: Everything you ever wanted to know about P2… but were too afraid to ask!
Everything you ever wanted to know about P2… but were too afraid to ask!
HDCAM
Outline of the popular HDCAM format and camera range
XDCAM-HD
XDCAM HD Camera System and file-based workflow
XDCAM-EX, what you really need to know!
Everything that you need to know about Sony's new file-based memory stick format to compete with Panasonic's P2 format
XDCAM Useful Links
Sony XDCAM-EX Software Drivers and Browsers for Mac and PC (all models)
Useful Downloads
XDCAM HD and XDCAM EX post workflow using AVID (pdf)
Tapeless Acquisition Seminar 19 Feb 09 (pdf)
as given by VMI MD Barry Bassett at the Broadcast Live Expo.
