My ultimate nanoFLASH Set-Up

The IDX A-MWR Wireless Receiver Mounting Bracket is just what I’ve been looking for! It is a multi-purpose wireless receiver mounting bracket which has been designed to fix directly to a native V-Mount at the rear of the camera or in my case the Protech ST-7 Shoulder Mount. The A-MWR just slots into place like you would with a battery (hence no screws or tools required).

The A-MWR has multiple holes located on the side or rear surfaces to mount equipment such as a wireless receiver unit and / or a nanoFLASH. I really like the fact that you can adjust the depth of the A-MWR to accommodate an ENDURA battery in single or PowerLink configuration (There are four set positions depending on your battery set up).

My ultimate nanoFLASH Set-Up

The bracket also provides a 2-pin D-Tap connector to supply DC power directly from the battery to the nanoFLASH as shown in the images. If you don’t require the rear plate it can be removed leaving you to mount the nanoFLASH on the side plate. I will probably put my second Receiver on the side plate, while leaving the nanoFLASH mounted on the rear plate. For those who want to know the A-MWR weighs in at 520g (0.22lb).

It is so easy to swap the batteries in and out without having dismantle anything to do so. I find that the whole rig now balances quite well even with out a mattebox in place, unlike when I had the nanoFLASH mounted on a small ball head on the rear cold shoe of the PMW-EX3 which made the rig unbalanced!

My ultimate nanoFLASH Set-Up

As you can see I also have managed to tidy up the cable mess with using a shorter HD-SDI Cable which I sourced from nanoFlash.net. The cable shown in the images is 450mm (18”) long and is perfect for this set-up. I have also sourced a good supply of various lengths HD-SDI and various custom power cables from nanoFlash.net. The quality of the cables is absolute top draw so check them out!

Any questions please leave a comment or as most of you prefer, email me!

Happy shooting,

Paul

                          

Sony MEAD-SD01

At present the current line up of Sony’s XDCAM EX Solid State Media is;

• Sony PHU-60K 60GB HDD Recorder
• Sony PHU-120K 120GB Professional Hard Disk Unit
• Sony 8GB SxS Pro Memory Card
• Sony 16GB SxS Pro Memory Card
• Sony 32GB SxS Pro Memory Card
• Sony 32GB SxS-1 Memory Card
• Sony MEAD-MS01 Memory Stick Adaptor

Apart from the media that is available from Sony there are many third party XDCAM EX Solid State Media from companies such as Hoodman, MxR and MxM. Read my article entitled ‘Alternative Media for the Sony PMW-EX1 and the PMW-EX3’.

However, that’s not all as Sony has just announced that it will be bringing out the all new MEAD-SD01. What is the MEAD-SD01? I hear you ask! Well, the MEAD-SD01 is the same as the MEAD-MS01 except that it uses SDHC Memory Cards instead of the highly expensive Memory Sticks.

Sony MEAD-SD01

The MEAD-SD01 works on the same principle as the ever popular MxR Adaptors, that so many EX-Users have come to rely on. At this time Sony Professional only recommends using the latest Class 10 SDHC cards in; 8GB, 16GB or 32GB capacities.

Much like the MxR Adaptor the MEAD-SD01 isn’t able to overcrank due to the speed limitations of SD Card. Furthermore Sony is saying that due to the nature of the adaptor and SD Cards that they are slightly less reliability compared to their SxS media.

The Sony MEAD-SD01 is compatible with the entire XDCAM EX family (PMW-EX1, PMW-EX1R, PMW-EX3, PMW-350) but they will require a firmware update which can be downloaded via the internet. However, the PMW-EX30 and PMW-10MD will need returning to a Sony service centre as they do not have a USB service port for connecting with a PC. The firmware update should be available around March 2010.

NOTE: The SBAC-US10 SxS Reader/Writer is not compatible because it only has PCI Express interface apposed to a USB interface.

The MEAD-SD01 and PXU-MS240 are also compatible once a firmware upgrade has been applied – due March 2010. All you have to do is simply slot the adaptor with SD Card into the PXU-MS240 unit to record content onto the MS240’s hard drive.

Check out my article entitled the ‘Sony PXU-MS240 Mobile Storage Unit’.

Well as soon as I can get my hands on the Sony MEAD-SD01, I give it a though testing and write an comprehensive review!

Happy shooting,

Paul

                          

You can also see my work on the official Paul Inglis Photography facebook page.  Please become a fan!

Happy shooting,

Paul

                          

Protech ST-7 and ST-7J Shoulder Mounts

With the purchase of the Convergent Design nanoFLASH and the need for an external monitor forced me to readdress how I power everything up. The Sony batteries that I use with the PMW-EX3 are great but can only power the camera, not all the other external devices I need such as the nanoFLASH and a monitor.

I have heard plenty of positive things about the new Protech ST-7 Shoulder mount and decided to purchase one. It isn’t the cheapest shoulder mount you can buy but it does look like a professional solution. Just for clarification, Protech have two shoulder mounts on the market; one being the ST-7 which is designed to be used with the PMW-EX1 and PMW-EX3 and the ST-7J for use with the HVR-Z5E and HVR-Z7E.

I have found using the Protech ST-7 on my Sony PMW-EX3 has proved the overall ergonomics giving the camera better balance and stability. The ST-7 and ST-7J both feature the industry standard V-Mount battery plates allowing cameras to be powered using regular V-Mount batteries. In my case the IDX Endura 10 which can power my PMW-EX3, nanoFLASH and Monitor for five hours on a single charge.

Protech DC-EX3 ST-7 DC Cable

In order to get my Sony PMW-EX3 powered from the Protech ST-7 and the IDX Endura 10 V-Mount batteries I have opted to purchase the optional Protech DC-EX3 ST-7 DC Cable. This connects the ST-7 to the PMW-EX1 and PMW-EX3 DC Supply. It’s a neat option. For powering the Sony HVR-Z5E and HVR-Z7E from the ST-7J you’ll need the Protech DC-Z7J ST-7J DC Cable.

The ST-7 and ST-7J has one DC In 4-Pin XLR Connector enabling the camera to be powered via an AC Adapter. It also has one DC out 4-Pin XLR connector allowing an on-board camera light, nanoFLASH or Monitor to be powered directly from the ST-7 or ST-7J, which I find incredibly useful.

Protech ST-7 BNC and DC Out 4-Pin XLR

On the side of the ST-7 and ST-7J is a side mounted array of three BNC connectors which gives the freedom to conveniently connect or disconnect cables of external devices such as the nanoFLASH and a monitor. Having short cables without boots is essential and I highly recommend obtaining your cables from nanoFlash.net. nanoFlash.net cables are built using the highest quality components and their shipping is very fast.

Sony VCT-U14 Tripod Plate

The other really boon about the ST-7 and ST-7J is the integrated ST-1 tripod adapter plate. This means that the whole rig can be securely attached to a standard full-sized tripod plate such as the Sony VCT-14 and the VCT-U14 or Protech’s own VST-14. A few people seem confused by this and I often get asked what they need to purchase in addition to the ST-7 or ST-7J. Well you just need to purchase a tripod plate if you don’t already have one. You can chose from either the Sony VCT-14, Sony VCT-U14 or Protech’s own VST-14. I love this quick release system and enables you to go fom shoulder mounted to tripod mount in seconds or visa versa.

The shoulder pad is very comfortable and I can have it sat on my shoulder for hours if necessary as the whole rig is nicely balanced making it a MUCH easier camera to shoot with handheld.

A point to sit bare in mind is the weak tripod mount on the PMW-EX1 and PMW-EX3. I still highly recommend that you use a Reinforced Tripod Plate in conjunction with the camera and the Protech ST-7. Read my article entitled ‘Sony PMW-EX1 and PMW-EX3 Heavy Duty Base Plate System’ for more information.

Anton Bauer PowerTap Multi

I’d like to make a quick note about improving power connectivity on the Protech ST-7 or ST-7J. I have added a D-Tap to the set-up via the IDX A-E2DT V-Mount to V-Mount Camera Adaptor with D-Tap. I have increased this single D-Tap by adding a Anton Bauer PowerTap Multi. This PowerTap Multi converts a single D-Tap outlet into 4 D-Tap outlets. This means I have four D-Tap and one XLR power outlets on the Protech ST-7.

I have only used the Protech ST-7 with the Sony PWM-EX3 which works flawlessly, but not the PMW-EX1. The way that the PMW-EX1 is configured you will need to use the LCD for monitoring rather than the viewfinder. There are several good viewfinders that you can use with the PMW-EX1 such as the Sock Loupe. The same would apply if using the Protech ST-7J with either the Sony HVR-Z5E or the HVR-Z7E. By using the Sock Loupe you’ll improve the ergonomics when shoulder mounting these cameras.

For more information about the Protech ST-7 and ST-7J visit Optica TV who are the UK Dostributers for Protech.

Happy shooting,

Paul

                          

Convergent Design nanoFLASH

However, that said, you can guess that the Convergent Design nanoFLASH won with Alister, with me and probably every nanoFLASH owner. Convergent Design aka CD has an awesome product that changes the way we filmmakers are now working. You can check out what I’ve written about the nanoFLASH in these posts;

Convergent Design nanoFLASH

First impressions of the Convergent Design nanoFLASH

Settling down with the nanoFLASH

Setting up the Convergent Design nanoFLASH with the Sony PMW-EX3

Sony PMW-EX3 and nanoFLASH Rig

My Sony PMW-EX3 and nanoFLASH Rig Update!!!

For me not only is the nanoFLASH a great product but the after-sales service from these guys is unparalleled. Any problems and they are as eager as you are to resolve the issue. Furthermore, they just keep bringing out new firmware updates every month just to make sure that a stunning product just gets better and better.

Here’s a summary of CD’s 2009 Achievements

Product Enhancements

• Time-Lapse Recording
• Pull-Down Removal (1080i60 -> 1080p24) for HD-SDI and HDMI
• Sony Optical Media Compatibility (MXF file format)
• 280 Mbps I-Frame / 180 Mbps Long-GOP
• MPG File Format for DVD and Blu-Ray Authoring
• Pre-Record Buffer (7 seconds for 100 Mbps and less)
• 2X/4X Playback as well as Pause Function
• Jam-Sync
• Added Adobe Premiere CS3/4 Support via the Main Concept Plugin
• Qualified 64GB CF Cards from Delkin, PhotoFast and SanDisk
• Enhanced Standard-Def Support: SD-SDI on Playback
• ASI Encode and Decode (99% complete) – Extra Cost Option
• QT -> MXF File Converter
• Developed Spatial Mapping (GPS) product with Red Hen Systems

Near Term Beta Firmware Plans:

• Loop Record
• 720p30/25/24 Support, including 720p24 over 60, 720p30 over 60, 720p25 over 50 frame removal
• Over / Under Crank
• Audio Tones in HP for Start/Stop Record
• 30/40 Mbps IMX added
• 35 Mbps (1440×1080 raster) – nano only
• Audio Level Meters on Playback

And here’s where they’re going…

2010 Plans

• Hot-Swap Compact Flash cards: replace a card while continuing to record with the option to force the recorder to switch to the other card (you can remove the current card and immediately start the edit).
• 8-Channel Audio including the ability to add the two analog channels to the embedded audio (the max number of audio channels is still limited to 8 )
• Redundant Record – two identical CF cards created simultaneously – one for the edit and one for the producer, etc.
• Delete Last Clip
• GPS Support including the ability to time sync nanoFlash and/or embed GPS data into the video – extra cost option
• Configuration Program with 8 Up-loadable Profiles (via CF card) defined on the PC/MAC
• Meta-Data Support
• Revised Menus, including the display of the total playback time
• Wireless Control for playback control and metadata upload
• Improved Playback Control, including advance from clip to clip using the up/down arrow keys
• Record Indicators on Loop-out Monitors
• Record Review of last 10 seconds
• HDMI–SD Support (HDMI-HD is working in current firmware)
• Audio / Video Sync Adjustments to compensate for system delays (switchers, etc)
• New mounting options from 3rd parties, including underwater housings.

and some longer term enhancements still under investigation:

• Image Flip to compensate for special lenses and prisms
• Native integration into Adobe CS Next – more to follow…
• Avid AMA Support

See what I mean! Stunning list!

Well that’s it from me for now, have a great Christmas Buoy’s and Gull’s. If you missed my Christmas Card, then be sure to check it out at; Merry Christmas from Harbour Creek Productions.

Happy shooting,

Paul

                          

Putting a Nikon Super Telephoto Lens on a Sony PMW-EX3

There are four fundamental elements in getting this to work properly; the camcorder, the lens, an adaptor and a sturdy rail. I will talk about each element in turn.

The Camcorder

Unlike the Sony PMW-EX1 which has a built in lens, the PMW-EX3 is the first EX Series Camcorder to feature an interchangeable lens system. This new 1/2 inch Mount is known as the ‘EX-Mount’. It really is simple to remove the stock lens and add an adaptor (EX Mount to Nikon Fit). The Nikon lenses then attach just like you would on a DSLR body.

Nikon G to Sony PMW-EX3 Adaptor

Nikon Mount to EX Mount Adaptor

I purchased my adaptor from Mike Tapa at MTF Services. I wrote an in-depth review about the Nikon G to EX Adaptor available from MTF Services. Check out the post entitled ‘Nikon G to Sony PMW-EX3 Adaptor’. There are two adaptors that you can purchase from MTF Services; a standard Nikon to EX Adaptor (The Original Adaptor) and a Nikon G to EX Adaptor (The latest Version). The fundamental difference between the is the latter adaptor can control the aperture of the Nikon G Lenses. I’ll clarify this for those that are confused.

The original adaptor is a basic adaptor that allows a Nikon lens to be connected to the PMW-EX3. You can only uses Nikon lenses that have a manual aperture ring, such as the D Series as there is no facility to stop down. This means that you can’t use any of the newer Nikon G lenses such as the Nikon 200-400mm f/4 VR lens.

However, Mike derived that Nikon G to EX Adaptor which can control the aperture of a Nikon G lens. You can even use the Nikon DX lenses too. In fact I haven’t yet come across a Nikon lens that I can’t use with the new adaptor!

So how does it work? Well this adaptor incorporates a built-in control ring allowing you to
visually adjust lens aperture which is ‘Patent Pending’. Yep, it is as simple as that but ingenious nonetheless. As I said earlier although this adaptor has been designed for use with the Nikon G series lenses, it is compatible with ALL Nikon lenses including DX series.

So make sure you get the right adaptor for your lens. The other difference between the two adaptors is the original adaptor had a crop of 5.5x while the newer adaptor has a crop of 5.4x with a 135mm lens. However, if used with any of the DX range of lenses the crop is 3.625x (Nikon G Adaptor only).

Either of these adaptors are perfect for shooting with extreme telephoto lenses such as my Nikon 600mm f/4 and allows the use of the full range of Nikon and Nikon mounted lenses on the Sony PMW-EX3 camera. However neither work perfectly at the wide end though (From about 35mm or wider).

It should also be noted that the difference in sensor size between the PMW-EX3 and a Nikon DSLR cameras means that the effective focal length of still camera lenses is multiplied by 5.5x. Therefore a 600mm lens would introduce a magnification factor of 3300mm while a 100-300mm lens would be 550-1650mm. You should also be aware that these adaptors don’t interface any electronics between the camera and lens; hence all functions of the lens are manually controlled. But that is as you’d want it anyhow.

Really Right Stuff Kennan Ward Super-Tele Package

Rail Support

Due to the huge effective focal length with using a Nikon 200-400mm f/4 or 600mm f/4 lens on the PMW-EX3 supporting the whole rig is absolutely essential. Everthing has to be rock solid to get nice crisp footage. There are many ways to do this from various Matte Box Supports through to making your own. I however loved the Ronsrail system which is sadly missed. After hunting high and low for an alternative I was pointed in the direction of RRS (Really Right Stuff) to take a look at the Kennan Ward Super-Tele Package. One word STUNNING!

RRS Kennan Ward Super-Tele Package

This package apparently was inspired by photographer Kennan Ward to provide ultimate stability for shooting digital video. It was originally derived for use with his Canon XL2 with a Canon 600mm lens. This set-up provides an ideal dual support of both the camera and a long lens. The vertical rail has variable height support for the camera and a sliding platform on the camera bar to enable full adjustment to the position of lens foot. All the components are quick-release with Arca-Swiss style platforms so no tools are required.

The Kennan Ward Package comes complete with everything except the plate to attach to your camera and an additional Platform (both are available from RRS). The additional platform is required to attach the Camera Bar to your Fluid Head.

Once you’ve attached the additional platform to your fluid head it is just a simple case of sliding the camera bar onto it and tightening the knob. Once the camera and lens have been attached it is just a simple case of slackening the knob, very slightly on the additional platform to balance the whole rig neutrally before tightening it all up.

The Nikon Lenses

I have quite a few lenses these days but for long lens work I tend to stick to the following;

• 70-200mm f/2.8
• 200-400mm f/4
• 600mm f/4

To be honest since Mike derived the Nikon G to EX Mount Adaptor my preferred lens has become the 200-400mm f/4 as it is so versatile.

I hope this answers everyone’s question clearly, however if you do have any additional related queries or input then please leave a comment.

Happy shooting,

Paul