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Category: Blackmagic Cinema Cameras

12 October 2015

Review of the Atomos Action Pack for Shogun

Written by Paul Moon

Atomos Shogun Action Pack-1Shogun users have been waiting for the Atomos Action Pack to come out for a long time, not only because it was promised to some of its newest customers for free, but also, we pinned our hopes on it to maybe settle the two biggest complaints about the Shogun: that it’s delicate, and it needs a sun hood.

Boo hoo.
Boo hoo.
I had an especially inspired reason to anxiously await this Action Pack, and you can see why in the photo to our right. During principal photography for a gimbal-driven dance film during my residency this summer (that’s now in the festival circuit), I stumbled over a tree root, head-first into the ground, and the Shogun screen shattered. First thing to note is, Atomos has a great attitude in customer service, and this incident was no exception. After getting my Shogun happily fixed, their Action Pack soon arrived. Is this what I was waiting for? Sadly, mostly, no!

Atomos Shogun Action Pack-2You could buy all the pieces separately, but they’d cost more than the Action Pack when you add it all up. Yet each of them has its unique problems. Starting with the screen protector, there were no instructions on how to carefully apply it: even giving the benefit of the doubt that Atomos customers know their stuff (after sticking a protector onto a smartphone, or even a Palm Pilot further back in time), I found the included wiping cloth to not be lint-free and static-free, defeating its purpose. Check out the macro close-up above-left, of pilling on its surface. Failing to remove dust (and even adding some), you can see in the picture below what quickly happened – and, you veterans of this operation know how after that, there’s no turning back. You cannot clean the adhesive side of a screen protector, after it’s gathered any dust. You just live with those little specks forever, or you throw away the screen protector for good (and it’s a $30 price tag if you buy another one separately). Boo!

Atomos Shogun Action Pack-3

But let’s assume you lucked out and stuck that sheet onto your Shogun like a pro. Moving onto the so-called “Armor,” let’s just say it wouldn’t stop an arrow. I actually liked the decision by Atomos to create a “bumper”-style rubber frame for the Shogun, adding very little weight, making the whole thing “grippy,” and absorbing shock upon impact. In comparison, several metal cages have preceded it (e.g., Varavon and Shape), priced high into the stratosphere for the value you get (considering the low cost to manufacture them). Even your budget option is a bad choice: there’s a “KavalCage” made by a mysterious company called PV Gear with no customer service (ignoring repeated e-mails, eventually admitting that they reply only if they want to), and they hide their full contact information (like, where do they pay their taxes?).

Atomos Shogun Action Pack-4Really, if you want to avoid the expense and bulk and non-shock-absorption of such metal cages, the Atomos Armor may not be such a bad option, bought separately. What you’ve got to live with, though, is a fairly loose fit: in the picture to the right, you can see how the Atomos logo, which is supposed to cover up the Shogun logo, sort of flops out of place easily with no effort. Atomos Shogun Action Pack-5The top of it, seen at left, has cut-outs for thread holes and vents, though you sacrifice an especially firm connection unless you really screw down, dangerously tight into sockets that aren’t well reinforced. Atomos Shogun Action Pack-6And the rear design is also a missed chance, as seen at right, to address the worrisome problem that SSD cartridges can easily disconnect, as it’s so flush that it doesn’t even add resistance against the cartridges sliding out.

Atomos Shogun Action Pack-8Atomos Shogun Action Pack-14Then there’s the sun hood, and it starts off with a dilemma: you can’t use it at the same time as the bumper, shown at left. So it’s either/or, defeating the purpose, while adding set-up/re-configuration time to your shoot. It screws into the top and bottom mounting holes with further loose hardware, seen at right, that can get lost, and feature fairly weak mounting points for the whole hooded and heavier Shogun.

Atomos Shogun Action Pack-12Atomos Shogun Action Pack-13There is a peek-a-boo elastic slot that lets you access the Shogun’s touchscreen (or for finger-puppet shows), weirdly on the upside-down side. And there’s also a sub-hood of sorts, framing the opening even smaller for more sun protection and/or privacy, which is a nice idea, but unfortunately doesn’t stay in place well at all, as seen in the photo below: those side flaps are magnetic, but here you are looking at them in their relaxed, fitted state: simply not adhering properly.

Atomos Shogun Action Pack-15

Atomos Shogun Action Pack-9But let’s assume you still dig all these parts in the kit. How about the case that keeps them all together? Well, to start with, it’s pretty big. With both a top and bottom compartment, you might not use all the space. (Reminds me of the original gigantic Pelican-style case that Atomos generously included with all their first-run Shoguns – now, it’s optional.) Atomos Shogun Action Pack-10Yet it doesn’t store the sun hood anyway, and then without the bumper on (because you’ll be using the sun hood on a shoot), the case’s Shogun compartment isn’t snug anymore.

Honestly, I wasn’t in the majority complaining camp, when the Shogun finally arrived to market: I understood that Gorilla Glass would take its price tag too far north, and I didn’t see much difference between a hard plastic chassis and a heavy metal cage in terms of durability. I probably would have cracked my screen anyway, with one kind of armor or another, and also it feels less important to me keeping the Shogun cosmetically prim compared to more important things like camera bodies, lenses, exposed glass and sensors. Between overpriced/heavy metal cages, and this Action Pack, we still seem to have a problem with no ideal solution. I suppose I’ll just keep risking it, like we do on any shoot these days, hauling around such a complicated melange of gear as it is.

October 12, 2015 ARRI Alexa and Amira, Blackmagic Cinema Cameras, Camera User Groups, Canon Cinema EOS, Canon EOS 5D Mark III, Canon EOS 70D, Canon EOS Rebel/70D/80D, FocusPulling Original, Panasonic GH3, Panasonic GH4, Sony a7S, Sony CineAlta F3/F5/F55, Sony NEX-FS100, Sony NEX-FS700, Sony NEX-VG10/VG20/VG30, Sony PXW-FS5, Sony PXW-FS7 action pack, atomos, shogun 2 Comments
13 April 2015

Blackmagic at NAB: Mini to Micro, Down to the Details

Written by Paul Moon

Seeming like they skipped a year, Blackmagic Design stole the show at NAB 2015, which kicked off today with their press conference (and a few strung spoiler banners the night before), announcing new cameras that aim to be as revolutionary as their Pocket Cinema Camera and their flagship wedge thingie you couldn’t hand-hold. Countless blog posts/Tweets/Facebook posts have reported on the basic specs already; and now, away from that frenzy of the convention floor, it’s time to process it all. In no particular order, this write-up tries to fill the gaps (not wasting your time with what’s already been said, at the usual bigger sources).

micro-cinema-connectionsTHERE’S NO DISPLAY ON THE MICRO CAMERAS
Gotta start with this: I hope everyone realizes, the Micro cams do not have any integrated display! I’ve seen a ton of coverage today, but the issue never came up (as an “obvious” matter, yet still). It’s no small thing, because the Micro Cinema and Studio cameras are getting launched with presumptions about you: that you’ve already got an external monitor to hook in, and/or you’ve got a switcher/wireless transmitter to feed the camera signal somewhere else for monitoring/recording. The Micro Cinema Camera records internally to SD card media, while the Micro Studio Camera doesn’t — yet the lowest common denominator is that you still need a monitor/viewfinder: to pull focus, frame your shot, adjust exposure, etc. How will this play out during a shoot? Well, I’ve got an Atomos Shogun, and I could see myself temporarily plugging it into the Micro Cinema Camera to get everything set at a B-camera location, then re-mount the Shogun onto my A-camera before everything starts rolling. Or, I could pair the Shogun with the Micro Studio Camera on a brushless motorized gimbal stabilizer. But I could also see myself being in too much of a hurry for all that, and resorting to my trusty old Blackmagic Pocket Cinema Camera which is an all-in-one solution. It depends. But these new Micro cams aren’t out-of-the-box ready for shooting, that’s for sure.

BMMCC SensorIT’S UNCLEAR HOW THE NEW MICRO SENSORS WILL PERFORM
Blackmagic has conversationally alluded to the Micro Cinema sensor being a little better than the Pocket Cinema sensor. The big difference is adding global shutter, which eliminates a jello effect during shaky motion, at frame rates up to 30p. But the old and new sensors are spec’ed at the same dynamic range of 13 stops, which implies that low-light sensitivity won’t be much improved. And when we’re talking about the Micro Studio sensor, since it shoots in Ultra-HD, you’ve gotta think there are compromises by jamming more resolution into a sensor that’s just one-half millimeter wider than the Pocket/Micro Cinema Camera’s Super 16mm sensor. As I understand things, Blackmagic has previously offered 4K resolution in a Super 35mm sensor size (the Blackmagic Production Camera 4K, and the original URSA), and could only manage a natural ISO of 400 — after that, the rest is noise. Ultra-HD squeezed into the Micro sensor will be even less low-light sensitive at a natural ISO of merely 200. And what about aliasing artifacts when down-sampling to 1080p? Am I missing something?

URSA Mini Rig

BLACKMAGIC IS GETTING EXPENSIVE, AND YOU’VE GOTTA “RED-UP” TO GET THE URSA MINI ROLLING
When I say RED-up, most of you know what I mean. After all their testosterone about starting an indie revolution, RED cameras cost more than double the body price (not even talking about lenses yet) when you factor in media costs, batteries, necessary adapters, proprietary accessories and so on. The RED-ification of Blackmagic is underway with this sorta pricey URSA Mini, though you’ll still hear their talking point that it’s “modular.” Firstly, unlike, say, the PXW-FS7, you have to buy a $1.5k viewfinder to fulfill the whole point of the URSA Mini’s form factor — not so on the Sony. As for getting power (which is kinda necessary), you get nothing out-of-the-box other than a DC power input. If you want to mount a VLock battery, you’re out another hundred bucks. Next, just to mount the camera on your shoulder, you’ll need to buy a shoulder kit for four hundred bucks — and while you get a top handle too, there’s no mention of the extender that Blackmagic themselves said is included, necessary to finish off shoulder mounting with the original handgrip in its right place. We’re up to $7k at a minimum (you want that new 4.6k sensor, thinking of the negative reviews on last year’s 400 ISO URSA 4k sensor being re-purposed for the cheapest Mini now); and that’s before getting overpriced, mandatory CFast 2.0 cards which cost about $1k for 256gb of media (pretty limited space for high-bitrate UHD capture). From my perspective, it’s $10k for a minimum shooting package. Sure, that’s cheaper than what Canon and RED offer, but it ain’t no indie revolution. Blackmagic is getting expensive.

LENSES ON THE EF-MOUNT URSA MINI WILL BE COMPROMISED
Blackmagic went with the Canon EF lens mount on their new URSA Mini (PL too, if you’re in that rare elite class of five-digit lenses), rather than Micro Four Thirds. Filmmaking “professionals” are trigger-happy with the notion that auto-focus is evil, but sometimes it helps in a pinch (documentary running-and-gunning, flying on gimbals, etc.). Blackmagic has never accommodated auto-focus, and probably never will — the URSA Mini is no exception. Also, most Canon EF-mount lenses require electronic aperture control (or bust), and while that’s in the URSA Mini specs, it’s no sure thing. Lens incompatibilities with non-Canon bodies are notorious (ask Metabones), and no one ever mentions the image stabilization factor which doesn’t go away just because you mount a camera on your shoulder: and, to the extent a Canon lens actually offers I.S., compatibility with the URSA Mini is a lens-by-lens question. I would have preferred an active Micro Four Thirds mount, like Blackmagic uses on their Pocket and Micro Cinema Cameras, but those lenses aren’t big enough to cover the URSA Mini’s Super 35mm sensor. And hell will freeze over before anyone other than Sony uses E-mount. Basically, we can expect to see lots of shaky footage with shallow focus hunting on the URSA Mini, because of this lens format compromise.

CONCLUSION (FOR NOW)
Does this all sound negative? Embarrassed disclosure: I leapt today the first chance I could, and pre-ordered all three. I see myself deprecating my beloved low-light workhorse A-cam at last, the Sony NEX-FS100, with this new URSA Mini whenever it arrives (not holding my breath for July). And, adding a second camera location with a matching look, I’ll plunk down a Micro Cinema Camera (maybe pairing it with the auxiliary new Video Assist monitor). And when I’m Steadicam-ing around with my CAME-TV 7800 gimbal, I’ll mount a Micro Studio Camera there for UHD capture, with my Atomos Shogun strapped to the top bar as usual for monitoring and recording. That said, all these issues bum me out. It was a good day for NAB razzle-dazzle, an OK day for indie filmmakers, and a bad day for bank accounts.

PRE-ORDER ROUND-UP
Blackmagic URSA Mini 4.6k Cinema Camera (EF-mount) ($4,995 delivered end of July 2015)
Blackmagic URSA Mini 4k Cinema Camera (EF-mount) ($2,995 delivered end of July 2015)
Blackmagic URSA Viewfinder
Blackmagic URSA Mini Shoulder Kit
Blackmagic URSA Mini V-Lock Battery Plate

Blackmagic Micro Cinema Camera ($995 delivered mid-July 2015)
Blackmagic Micro Studio Camera 4K ($1295 delivered mid-July 2015)

Blackmagic Video Assist monitor/recorder ($495 delivered mid-July 2015)

BLACKMAGIC CINEMA CAMERA USER GROUP
You’re welcomed as always to join the User Group at Vimeo, on Facebook, on Twitter, and rounded up here at this site. Thanks for continuing to share your footage and interacting with this community.

April 13, 2015 Blackmagic Cinema Cameras, FocusPulling Original blackmagic, blackmagic micro cinema camera, blackmagic micro studio camera, blackmagic ursa, blackmagic ursa mini, bm4k, bmcc, bmmcc, bmmsc, bmpc, bmpcc, ursa, ursa mini 4 Comments
01 January 2015

Atomos Shogun Tests: Panasonic GH4 and Blackmagic Pocket Cinema Camera

Written by Paul Moon

Here’s an original video overview with commentary on the Atomos Shogun, emphasizing camera tests and comparisons, rather than a critical review. Mentioned at the beginning, you should start with Atomos’ own introductory video, if you haven’t already, for an explanation of the Shogun’s menus and features in-depth.  The product is shipping now from the usual places, e.g., B&H Photo and Video, and Adorama.

These results show only slight differences, but they are precise. For apples-to-apples comparison without deviation, there’s always a compromise between getting things into perfect docile alignment, and pushing devices to their respective limits using shot diversity and severe motion.  I chose the first approach here, for formal comparison, but subsequent field work will bear out the other more instinctual types of comparisons (and I’ll be looking forward to seeing your samples).

As explained in this video’s commentary, I was satisfied by the proof here comparing 10-bit 4:2:2 via ProRes HQ (Shogun) against 8-bit 4:2:0 via .MOV (GH4 internal), ironically by way of deduction:  the capture looked identical between the Shogun externally versus the BMPCC internally, both recording at 10-bit 4:2:2 via ProRes HQ.  The design philosophy at Atomos is right-on:  they are leaving sensor design to the big industry vets, while pushing the envelope on this recorder/monitor side where it’s usually neglected in camera bodies.  I look forward to mating the Shogun as often as possible with the GH4, but as I mention in the commentary, V-Log couldn’t come soon enough.  For now, as you’ll see during each sample, I’m relying upon the FilmConvert plug-in to match footage between different camera color spaces, for common ground.  (FYI, they are giving 10% off using exclusive code FOCUSPULLING at filmconvert.com.)  And 10-bit 4:2:2 capture really shows its “colors” when you grade footage heaviliy, which I do.

I “obey” the 180-degree shutter rule always, because a camera test is useless if it doesn’t approximate field use, and good cinematographers are obligated to capture correct motion blur (for the sake of their audiences)!  Thus all of these shots are locked down to a shutter speed of 1/60, as I’m shooting at 30 frames per second.  My GH4’s ISO was at the minimum 200 in movie mode, though I cranked up to 600 or so after the sun went down.  Rather than fiddling with the shutter speed (boo!), I compensated by opening up my aperture on bright lenses, including the lovely Leica 42.5m f/1.2, and the Panasonic 12-35mm f/2.8.

Thanks for watching, and for a quick look behind-the-scenes from this shoot, and for full-resolution comparison stills, here’s the photo album from Flickr:

January 1, 2015 Blackmagic Cinema Cameras, FocusPulling Original Video, Panasonic GH4 10-bit, 4:2:2, atomos, atomos shogun, blackmagic, blackmagic pocket, bmpcc, gh4, national mall, panasonic gh4, prores, recorder, shogun, smithsonian, smithsonian castle, washington monument 4 Comments
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