Bertone Visuals Sony F55.

The CineAlta Sony F55 is the latest addition to our cine camera department. It has been accessorized in great detail to be highly flexible and friendly toward First ACs and Camera Operators.

Indeed, we selected mechanical accessories from Vocas a manufacturer from Netherlands that makes solid parts with a great design and also a pleasant overall aesthetic.

Although not visible in the pictures above, at Bertone Visuals we are very satisfied about the hand-held style configuration that we came up because it features nice wooden handle with a start & stop button together with adjustable metallic arms connecting to the camera plate with robust “rosette” joints. For those customers that might not like to have the articulated extension arms connected directly with the base plate, we also offer, as an alternative, a “rosette” support piece that mounts on the light weight 15mm rods. In doing so the position of the handles it is shifted more forward and the distance from operator’s chest is much more increased and comfortable.

For this camera package we envisioned an usage on the fluid head with the 19mm studio rods or with the 15mm studio rods although this last solution requires an additional Arri Quick Release on the bottom.

As official follow focus for the package we recommend the O’Connor CFF-1 since it is accurate, solid and mainly offers the possibility to be mounted on 19mm rods as well as on 15mm rods with an adaptor.

When the camera is in studio mode with 19mm rods we offer the Arri Matte Box MB28 that comes with a rich kit of adaptor rings, hard matte mask and barn doors. When the camera is used hand-held style with the light weight mini 15mm rods we suggest our light weight clip-on Matte Box Arri LMB15 which also comes with a rich kit of accessories.

The last, but not least important mechanical accessory for this F55 package is the MTF lens adaptor. This mount adaptor allows to mount Canon EF lenses on a camera that normally features a PL mount. At Bertone Visuals we have a full set of six Canon Cinema CN-E primes that besides being 4K certified lenses they also have 11 iris blades for nice circular bokhe. However, the PL mount is always an option if DPs want to go for our Zeiss CP2 or our Cooke S4i or for the phenomenal Leica Summilux-C.

For on board monitoring we have a wide variety of choices: TVLogic 5.6”, Transvideo Rainbow HD 7”, Leader LV5330, SmallHD AC7 or the SmallHD DP7 that has the possibility to render the Sony S-Log, besides many other advanced features like “high brightness” (it doesn’t need a sun hood) and preview LUTs.

One key accessory of our Sony F55 is the Switronix JetPack that not only converts a V-lock mount to an Anton Bauer Gold Mount, but it also offers multiple kinds of power plugs to provide juice to accessories via two P-Taps, one 5V Lemo, one 7.2 V Lemo, and one 12V Lemo. With the Jetpack by Switronix it is easy to add to the F55 a Cine Tape, powering a monitor if you don’t want to use batteries and you have plenty of options for lens control devices such as the Preston FI+Z, or the single channel Axis 1 by Hocus products.

Finally, the JetPack has a USB power out port that becomes extremely useful when you have to power wireless HD transmitter such as the Paralinx ArrowPlus, the Paralinx Tomahawk or the Teradek Bolt Pro. With the diffusion of the Mōvi M10 these new SDI and HDMI video transmitters and receivers became very popular also on hand-held camera set-ups and with a piece of Velcro and a USB port or a P-Tap the DP the First AC and the Director can see the video feed on a SmallHD DP7 with handles and a X-Port on the back of it.

The X-Port is a new product for power management introduced at NAB 2014 by SmallHD manufacturer of on board monitors.

To complete this discussion about “power” we recommend to use with the Sony F55 the Anton Bauer VCLX CA2 as block batteries and the PAG Gold Mount as on board batteries.

The very cool aspect about these british expensive batteries, PAG, is that they are “stackable”! Which means that you can pile them up on the rear of the camera or on the recharger itself. For instance, If you have only two slots available on the battery recharger (Anton Bauer T2) you can stuck-up them on top of each other up to four batteries per channel and a dual re-charger turns into a eight batteries re-charger!

Now they are my favorite batteries and accordingly to their yellow stickers they have no restrictions on flights differently from the Anton Bauer HCX batteries.

The Sony CineAlta F55, differently from the Sony F5 and the Red Epic features a global shutter, that although is not comparable to a rotative mechanical shutter like the one on the Sony F65 it is a very useful addition because it prevents artifacts and jello effect when for any reason the camera has to be panned or tilted abruptly. Another important positive aspect of the F55 is its small foot print and light weight that makes it suitable for a new gimbal such as the new Free Fly System Mōvi M15.

This camera can record compressed footage in camera via SXS pro+ media cards using the new XAVC Sony codec. However, for theatrical releases where color depth and resolution comes very handy, we recommend to use the Sony AXS-R5 16 bit raw recorder that records .mxf footage in 2K and 4K up to 240 frames per second. Differently from other cameras, the transcoding to HD for the editor is not mandatory anymore, because if the non linear editing workstation is powerful enough the .mxf 4K footage can be imported directly on the time line of Premiere CS6/CC or Avid Media Composer. In January I shot two HFR (high frame rate) productions in cinema 4K resolution (not UltraHDTV) and the editing was executed smoothly natively in 4K at Bertone Visuals with Adobe Premiere CS6 on a old generation Apple Mac Pro 3.3Ghz with 32GB of RAM and a 6G SAS raid 5 connected to it. Sony makes available online a free plugin for Premiere CS6/CC and Avid Media Composer to import .mxf Sony raw clips coming from F65, F55, F5 and Nex FS-700 with AXS-R5 4K/2K Raw recorders. Finally, Sony also offers a free Raw Viewer that allows to set up looks, save LUTs, export a CDL and it also transcodes 4K .mxf Raw into an Apple ProRes Codec, or in a DPX sequence if needed.

Finally, with the Sony F55 is possible to shoot using the new Log curve S-Log 3 Cine and also with the more traditional S-Log 2 curve to maintain compatibility with the Sony F65 that is in the process to be upgraded to this new Log curve after firmware 4.0. Basically, the S-Log 3 cine curve is less steep on the graph than the S-Log 2 and the blacks get expanded in a way that gives more options in a color correction session.

Hope you found this blog post informational about the potential of the Sony F55, but if you still have questions please do not hesitate to contact me by email with questions.

In the meanwhile good luck to DP Richard Vialet who is shooting here in LA his six weeks feature with our Sony F65 as A camera and our Sony F55 as B camera. Definitely a great Sony 4K cinema production environment similar to the one that Claudio Miranda ASC used on his last Disney feature Tomorrowland (Sony F65 + Sony F55).

Leica S System Medium Format.

Recently a second Medium Format camera was added to our rental inventory: the Leica S System 37.5 megapixels with a low noise CCD sensor. 

We do offer it with the 70mm prime, two batteries, a dual battery recharger a couple of fast CF cards and a custom tethered cable to shoot with Adobe Lightroom. 

The experience to shoot with this camera is unique from the moment the photographer look through the viewfinder. It outputs .dng files as raw files, but there is a setting for a compressed .dng to make the files more manageable. The auto focus is not as sophisticated as the latest 35mm Dslrs, from Nikon and Canon, but still fast. 

Definitely a blast for photographers!

Leica S System Medium Format.

Recently a second Medium Format camera was added to our rental inventory: the Leica S System 37.5 megapixels with a low noise CCD sensor.

We do offer it with the 70mm prime, two batteries, a dual battery recharger a couple of fast CF cards and a custom tethered cable to shoot with Adobe Lightroom.

The experience to shoot with this camera is unique from the moment the photographer look through the viewfinder. It outputs .dng files as raw files, but there is a setting for a compressed .dng to make the files more manageable. The auto focus is not as sophisticated as the latest 35mm Dslrs, from Nikon and Canon, but still fast.

Definitely a blast for photographers!

Sony FS700 4K

The Sony NEX FS 700 is becoming a popular camera in the rental business and a choice for many DPs that are looking for high res HFR (High Frame Rate) options.

When you receive the camera from the manufacturer it is relatively cheap, but it is a camcorder at that time and you need a wide series of mechanical and electronics accessories to transform this Consumer Camcorder into a B - C camera for the production of feature films.

First, you need an EVF (Electronic View Finder) because the LCD on the camera body it is partially articulated and mainly it cannot been seen when you hold the camera on your shoulder in a hand held style. At Bertone Visuals Rental Department we came up with two different EVF options: one is 3G sdi, and the other one is HDMI.

Second, the basic camera by itself could record only 8bit video in Sony Codec Video Format on two different kind of media. In order to increase the bit depth , the quality, and the kind of compressed Video Codec to be subsequentially ingested by an editing system (Final Cut or Avid) an external Digital Recorder is required.

Before we were offering only the Sound Devices PIX240 option that had CF cards and SSDs slots for 1080p HD recording in Apple ProRes and Avid DNxHD, but now we have upgraded our Sony NEX FS-700 with original 4K Sony accessories.

After a firmware/software upgrade to the camera body processed by Sony Technicians, the 4K sensor of the camera can now outputs S-Log2 Sony Gamma and record .mxf Raw via AXS-R5 2K, 4K Raw Recorder and the HXR-IFR5 interface unit (it is a device that receives the 3G signal via bnc and passes it to the Sony F5/F55 Raw Recorder).

Third, at this point we need to consider a proper Power Source.

Indeed, we have to provide operational Power to six devices:
- a camera body
- an EVF
- a TV Logic / SmallHD first AC monitor
- a Cinetape
- a Deck Interface Unit (HXR-IFR5)
- a 2K and 4K Raw Recorder

For all of these devices we distribute the power from an Anton Bauer Gold Mount with P-TAP connectors carrying an Anton Bauer Hytron Battery. In order to keep all of these elements neatly together in a studio and hand held configuration we used pieces such raiser, cheese plates, handles, PL Adaptor, clamps, 15mm light weight rods, handles, and adaptors from: Movicam, Berkey Systems, Shape WLB, Anton Bauer, 16X9 Inc and O’Connor.

Unfortunately, not every client is aware of the possibility to shoot 4K raw in a seamless Sony workflow with a relatively inexpensive camera that can be installed on a Mōvi M10 with a little backpack or on a Steadicam.

When I shoot as a DP I tend to go out with: 1 Sony F65 on a CinePed rotative slider, 1 Sony F65 on a SolidGrip System Twin Dolly and 1 Sony FS-700 with 4K accessories either on Steadicam or Free Fly Systems Mōvi M10 gimbal.

When I check on set my clips on Bertone Visuals Dardo DIT cart (that fits into a Ford Expedition) I like to have in DaVinci Resolve a timeline with the same kind of file (.mxf), gamut, but depth and resolution.

Finally, most of the times I can still have at the end of the day 1080P files with an embedded custom Rec709 LUT, because we know how to go quickly from S-Log 2 to Rec 709 or Aces. We did the same thing for the Canadian launch of the Samsung Galaxy S4 Tablet, when I was DP for the olographic project and we needed to shoot 4K p and deliver on the same day 2K graded and interlaced.

Cinoflex Rig for Canon C500 PL

One of the latest 4K motion picture cameras that has been added to the Bertone Visuals Rental Department is the Canon C500 PL.

We did not limit to offer to our clients just a camera body, indeed we put together a complete camera package that is a real working solution to shoot movies because it has all the features that a first AC and a Camera Operator need on set.

The C500 shape out of the box recall a medium format photography camera body and although it has an internal battery that is not designed to distribute power to accessories and neither to last long. Also its viewfinder is placed in a central position (like other Japanese camcorder Sony FS-100 and Sony FS-700) which might not be the best ergonomics choice if the operator needs to shoot also hand-held style. In order to solve this basic configuration problem we added to our camera rig one of the best Electronic Viewfinder the Alphatron 3G EVF, which uses a HDsdi cable rather than a HDMI cable. The only downside of this EVF is that is extremely delicate when it comes to direct exposure of the screen to sunlight (it burns out!), so it is important that the camera operator remembers to cover eye piece when he does not use it.

The EVF is not the only monitoring-out that a production crew needs to operate a motion picture camera. Therefore, we also included in the C500 PL rig a SmallHD AC7 monitor with its light sun-hood.  The 7” SmallHD AC7 monitor  is used by the 1st AC to pull focus and it can be adjusted for a comfortable angle of view because is mounted on a UltraLight Arm.

At this point we have a power need for the EVF and for the SmallHD AC7, but probably many other accessories will also need to be safely powered from a common power distribution source. For our camera package we thought about popular accessories such as a Cinetape (radio based meter), a Remote Follow Focus Preston G4 FI+Z and last but not least a Codex S Onboard Recorder for the 4K Canon Raw.

The Codex S Onboard Recorder is usually essential for a Canon C500 PL package because without it, the recording would not be in 4K resolution, but just 2K compressed on CF cards.  The 512GB Codex S capturedrives are designed to capture uncompressed 4K Canon Raw up to 60fps, whereas for higher HFR (High Frame Rate) values ( from 61fps to 120fps) the recorded raw file switches to half of its vertical resolution.

Roughly counted, all those accessories come to #5 devices and a camera body to be powered. 

The Bertone Visuals solution to solve all of the power distribution issues and others is actually the red coloured Cinoflex rig.

Indeed, the Cinoflex rig not only provides a lot of useful “holes” to the Key Grip  and to screw-in mechanically many accessories, but mainly it has an Anton Bauer Gold Mount that allows to use one or two Anton Bauer batteries (with an additional fin shaped plate) and plenty of power and HDsdi video connectors to neatly connect all of the aforementioned accessories.

Basically, the whole concept reminds me of how Panavision accessorized its film cameras in the past or more recently the CineAlta Sony F55.

Finally, our C500/Cinoflex rig has a Vocas mount/bracket on the back which provides a physical support to the Onboard Codex S recorder, a set of adjustable Shape WLB handles in the front of the rig and a Letus MCS leather pillow underneath the main plate to allow to comfortably shoot hand-held style.

Hence, when you use the Bertone Visuals C500 PL rig, you have a really complete 4K Motion Picture Camera that can be used, at the same time, either in Studio configuration or in “hand-held” mode without the need to use any tool (wrenches/screwdrivers) to switch between the two options.

The kind of approach that we used for the C500 is not different from the philosophy that we previously used to “transform” the prosumer camcorder Sony FS-700 into a movie-making-machine (you can see a couple of pictures of that rig in previous posts on this blog).

Hope all of this could help to make Producers understand that camera accessories are as important as the quality of the camera to get the job done.  

I think that another conclusion that can be drawn on this subject matter is that certain camera rental prices published on the web are not really meaning too much since the camera body by itself is not all you need to shoot!

Cinematographer Shane Hurlbut ASC, designed his own C500 Powered Studio Raiser / Rig for Need For Speed, which is the first Studio movie shot with Canon C500 PL/EF.  His exact rig might not be on the market yet, but it is much more compact than the Cinoflex that I explained above, but it is exclusively available for rent at Revolution Cinema Rentals in San Fernando, CA.

In my opinion both of these rigs have their pro and cons. Actually, they both work well overall, so in the end it comes really to the personal taste of the DP and his first AC to decide which one of the two rigs is better for their production. 

Bertone Visuals was involved in the camera tests during the pre-production of the movie Need For Speed (Dreamworks) and provided to Director Scott Waugh and his DP Shane Hurlbut ASC , the Dardo DIT Cart for Data Management, technicians, a DIT, Leica Summilux-C Lenses, Cooke S4i Primes, Arri Alexa Plus 120fps, Codex M, and finally the Sony Cinealta F65 with mechanical rotary shutter.

It was an incredible experience, very challenging because there were 9 different cameras and most of them were dual recording, which means raw and compressed footage from most of the camera bodies at the same time and often recording in HFR mode.  The biggest reward was to hear always the same comment from Local 600 professionals on set: “we never saw anything like the Dardo before.”

The Bertone Visuals Dardo cart was delivering three different shuttle drives to Production at the end of each day of the test with an average of 250GB of data ingestion every 15 minutes for 10-12 hours a day.  Also it was delivering a raw back-up on LTO-5 media supports the following day.

In the first quarter of 2013 the Dardo DIT Cart was the most demanded DIT cart in Hollywood.  However, we had only one Dardo cart and we couldn’t be in more than one production at the time so clearly we yield the right of way to Need For Speed. More tk…

Happy week end to everyone!

I’m in Atlanta shooting a brief documentary that requires studio and hand held configurations with a quick switch between the two options.

So here is how I’m rolling in the city today and tomorrow:

Camera: Sony NEX FS-700
Digital Recorder: PIX240 10bit
Power: Anton Bauer Gold mount on AB Matrix cheese plate.
Monitoring: Small HD on Noga Arm
Light Weight Matte Box: O’Connor O’Box with O’Grip handles
Shoulder Pad: Arri on 15mm rods
Follow Focus: Arri
CineTape
PL Adapter and Support: 16X9
High performance camera support/next generation of tripod: CinePed Slider on Quattro ( 4 adjustable telescopic legs).

Soon I will post something about the Holographic project that I just wrapped in LA before I left. It was great to work in such an international environment with the Sony CineAlta  F65, and people from Musion Technology (UK), Mosaic Productions (Canada). The singer Leslie Feist really impressed me vocally and I’m very curious about how it is going to look the final hologram for Samsung event.

I’m in Atlanta shooting a brief documentary that requires studio and hand held configurations with a quick switch between the two options.

So here is how I’m rolling in the city today and tomorrow:

Camera: Sony NEX FS-700
Digital Recorder: PIX240 10bit
Power: Anton Bauer Gold mount on AB Matrix cheese plate.
Monitoring: Small HD on Noga Arm
Light Weight Matte Box: O’Connor O’Box with O’Grip handles
Shoulder Pad: Arri on 15mm rods
Follow Focus: Arri
CineTape
PL Adapter and Support: 16X9
High performance camera support/next generation of tripod: CinePed Slider on Quattro ( 4 adjustable telescopic legs).

Soon I will post something about the Holographic project that I just wrapped in LA before I left. It was great to work in such an international environment with the Sony CineAlta F65, and people from Musion Technology (UK), Mosaic Productions (Canada). The singer Leslie Feist really impressed me vocally and I’m very curious about how it is going to look the final hologram for Samsung event.

In the last two days I gave a presentation at Band Pro Film & Digital in Burbank,CA about the different DIT carts available at Bertone Visuals for rentals. 

For me it was a particularly important and intense moment because it was the first time in history that a 4K projector fed by a Mobile Color Correction system was projecting 4K raw video played at 24 fps from all existing 4K digital motion picture cameras. 

Bertone Visuals showed that 4K Secondary Color Correction (power windows) it’s actually possible in real time in a “near set” environment. 

In our opinion this is an exceptional tool for Directors, Producers and Studio Executives that value the possibility to watch “near set” what they have shot during the day just few hours before. 

The experience is not anymore a monitor kind of experience, but rather a true  cinematic projection on a big portable screen. 

This quality control feature is not the only characteristic of the Bertone Visuals Dreadnought Cart. Indeed, it carries on many post production software not only for color correction needs, but also for non linear editing (Avid, Adobe CS6 production suite) and for multiple simultaneous LTO-5 back up with BRU PE. 

There were no records before yesterday about this possibility and Bertone Visuals R&D made it possible without compromises offering performances that are way higher than those available in many indoor DI suites. / 

Now the Dreadnought is available for rental together with a skilled and experienced Colorists.

In the last two days I gave a presentation at Band Pro Film & Digital in Burbank,CA about the different DIT carts available at Bertone Visuals for rentals. For me it was a particularly important and intense moment because it was the first time in history that a 4K projector fed by a Mobile Color Correction system was projecting 4K raw video played at 24 fps from all existing 4K digital motion picture cameras.

Bertone Visuals showed that 4K Secondary Color Correction (power windows) it’s actually possible in real time in a “near set” environment. In our opinion this is an exceptional tool for Directors, Producers and Studio Executives that value the possibility to watch “near set” what they have shot during the day just few hours before. The experience is not anymore a monitor kind of experience, but rather a true cinematic projection on a big portable screen. This quality control feature is not the only characteristic of the Bertone Visuals Dreadnought Cart. Indeed, it carries on many post production software not only for color correction needs, but also for non linear editing (Avid, Adobe CS6 production suite) and for multiple simultaneous LTO-5 back up with BRU PE. There were no records before yesterday about this possibility and Bertone Visuals R&D made it possible without compromises offering performances that are way higher than those available in many indoor DI suites. / Now the Dreadnought is available for rental together with a skilled and experienced Colorists.

The image above shows the Dardo cart in action on set while BV was participating into a massive Studios camera test with 9 different digital cameras (F65, F5, Alexa M, Alexa 4:3, Red Epic, Black Magic Camera, Canon C500PL, Canon 1Dc 4K and GoPro.)

Bertone Visuals DIT cart will be showcased at Band Pro Film & Digital on Thursday 02/07/13 at 10:00AM and with a second repeated session at 4:00 PM. 

The event will be focused on basic workflows for the Sony F series cameras (F65-F55-F5). 

The Dardo Cart among other software uses Assimilate Scratch Lab 7 and DaVinci Resolve 9 as core apps. 

What is interesting about the BV Dardo Cart is that regardless of the fact that the apps require different dedicated hardware (from AJA Kona and Black Magic Design) to output a HD-sdi video signal to the Broadcast Monitor, both world coexist seamlessly on the mobile system. This technical achievement (on a mobile post unit) has been reached by our R&D implementing a Thunderbolt dual channel technology.

With the Dardo a trained DIT  can execute in a reliable way the following tasks:

1. Data Management : 

- ingesting media from a wide variety of cameras ( F65-F5-F55-Red Epic-Canon C500-Arri Alexa-Black Magic Design-Canon 1Dc 4K.)
- ingesting media from 3-4K Raw Recorders: Codex S and Codex M, Sony SR4 and convergent Design Gemini.
- making multiple copies simultaneously on 3-4 shuttle drives
- executing Copies with Checksum Error Checks.
- executing a LTO-5 back-up on 1.5TB/3.0TB cartridges via BRU Producer Edition.
- check the integrity of the clips (artifacts might always be there) with a almost universal video player.

2. Color Management: 

Not all the cameras today can overlay on Director’s Monitor a “nicer look” than the flat Raw for the DP and the Director. In order to achieve a non-destructive and not embedded “look”, skilled DITs or Near Set Colorists can create custom LUTs, Rec 709 LUTs with proper software that generate 1D or 3D LUTs. 

Through a portable LUT box  in between the Dardo Cart and the Video Village, DPs and Directors can experiment their look and send by email to the final post production facility their vision (CDL) Color Decision List.

This on-set LUT making is the main reason for the Tangent Element Panel on the Dardo Cart. In order to make the process more “ergonomic” the DIT/Colorist can seat to the right of the cart where a Boland Monitor duplicates the main GUI of the Apple Mac Pro Retina Display and he/she can watch a color calibrated Sony Oled PVM1741 below the GUI.

3. Finally, Transcoding and Audio Sync options are available and suitable for Commercials. 

However, we recommend a more powerful cart such as the Bertone Visuals Dreadnought for these two tasks that most of the times require also a separated professional since in a multiple cameras environment, ingesting the media is already a delicate and compelling task. 

With that in mind we used a excellent Raid 5 solution that besides being very fast it is also very reliable. 

It’s reliable because it has been built with corporate rated 6G/ SAS hard-drives. 

Also the 20 TB Raid has a dedicated Controller (Areca) which doesn’t interfere with the data transfer of other SAS data traffic  (Codex S, Codex M, Quantum LTO-5 Drive)

I’m concluding here pointing out the fact that the Dardo Cart doesn’t necessarily require a lift gated Camera truck or a Cargo Van to be delivered on set. 

Indeed, it has been designed with “modularity” in mind and it can break down in three separate modules: 1. Lid Box 2. Core Cube and 3. Wheels.

Hope this post was informative and made you curious enough to attend the upcoming event in Burbank, CA @BandPro Film and Digital.
The image above shows the Dardo cart in action on set while BV was participating into a massive Studios camera test with 9 different digital cameras (F65, F5, Alexa M, Alexa 4:3, Red Epic, Black Magic Camera, Canon C500PL, Canon 1Dc 4K and GoPro.)

Bertone Visuals DIT cart will be showcased at Band Pro Film & Digital on Thursday 02/07/13 at 10:00AM and with a second repeated session at 4:00 PM.

The event will be focused on basic workflows for the Sony F series cameras (F65-F55-F5).

The Dardo Cart among other software uses Assimilate Scratch Lab 7 and DaVinci Resolve 9 as core apps.

What is interesting about the BV Dardo Cart is that regardless of the fact that the apps require different dedicated hardware (from AJA Kona and Black Magic Design) to output a HD-sdi video signal to the Broadcast Monitor, both world coexist seamlessly on the mobile system. This technical achievement (on a mobile post unit) has been reached by our R&D implementing a Thunderbolt dual channel technology.

With the Dardo a trained DIT can execute in a reliable way the following tasks:

1. Data Management :

- ingesting media from a wide variety of cameras ( F65-F5-F55-Red Epic-Canon C500-Arri Alexa-Black Magic Design-Canon 1Dc 4K.)
- ingesting media from 3-4K Raw Recorders: Codex S and Codex M, Sony SR4 and convergent Design Gemini.
- making multiple copies simultaneously on 3-4 shuttle drives
- executing Copies with Checksum Error Checks.
- executing a LTO-5 back-up on 1.5TB/3.0TB cartridges via BRU Producer Edition.
- check the integrity of the clips (artifacts might always be there) with a almost universal video player.

2. Color Management:

Not all the cameras today can overlay on Director’s Monitor a “nicer look” than the flat Raw for the DP and the Director. In order to achieve a non-destructive and not embedded “look”, skilled DITs or Near Set Colorists can create custom LUTs, Rec 709 LUTs with proper software that generate 1D or 3D LUTs.

Through a portable LUT box in between the Dardo Cart and the Video Village, DPs and Directors can experiment their look and send by email to the final post production facility their vision (CDL) Color Decision List.

This on-set LUT making is the main reason for the Tangent Element Panel on the Dardo Cart. In order to make the process more “ergonomic” the DIT/Colorist can seat to the right of the cart where a Boland Monitor duplicates the main GUI of the Apple Mac Pro Retina Display and he/she can watch a color calibrated Sony Oled PVM1741 below the GUI.

3. Finally, Transcoding and Audio Sync options are available and suitable for Commercials.

However, we recommend a more powerful cart such as the Bertone Visuals Dreadnought for these two tasks that most of the times require also a separated professional since in a multiple cameras environment, ingesting the media is already a delicate and compelling task.

With that in mind we used a excellent Raid 5 solution that besides being very fast it is also very reliable.

It’s reliable because it has been built with corporate rated 6G/ SAS hard-drives.

Also the 20 TB Raid has a dedicated Controller (Areca) which doesn’t interfere with the data transfer of other SAS data traffic (Codex S, Codex M, Quantum LTO-5 Drive)

I’m concluding here pointing out the fact that the Dardo Cart doesn’t necessarily require a lift gated Camera truck or a Cargo Van to be delivered on set.

Indeed, it has been designed with “modularity” in mind and it can break down in three separate modules: 1. Lid Box 2. Core Cube and 3. Wheels.

Hope this post was informative and made you curious enough to attend the upcoming event in Burbank, CA @BandPro Film and Digital.

First F65 Anamorphic Aerial Footage

Monday April 8th NAB 2013 will take place like every year at the Las Vegas Convention Center. 

Bertone Visuals as its tradition contributes to the show with its own 4K contents shot with the Sony CineAlta F65 4K camera exactly like we did last year with the first self produced F65 camera test shot at Joshua Tree National Park. That camera test, still available on Vimeo and on this blog, was subsequentially licensed to Black Magic Design for the implementation of the DaVinci Resove 9 manual and its tutorials. 

This year we graded the video starting with an official LUT from S-Log 2 to Rec 709 color space. The anamorphic footage was shot using a Hawk 75mm C series X 2.0 prime lens in conjunction with a SpaceCam gyrostabilized Systems mounted on a turbine powered A-Star helicopter piloted by the SAG movie pilot John Tamburro. The video will be displayed at NAB 2013 on a LG 4K Ultra HD TV set at Aberdeen’s Booth #N4919. 

Aberdeen designs Servers and Storage solutions for Post Houses and his Accounting Executive Steven B. Cohen contributed in the summer of 2012 to development of the Bertone Visuals DI Suite in El Segundo, CA.

A true 4K resolution video is going to be played also during the Fusion I/O party on Tuesday and the 4K DPX 10 bit sequence will be hosted on super fast Solid State Drives directly mounted on PCIe 3 cards.

Finally, Bertone Visuals Rental will have one of its Sony F65 at Focus Optics (lens manufacturer for the Ruby series PL Zoom 17-24mm T2.8) and many Cineped Rotary Sliders installed at BandPro Film and Digital booth.

Hope to meet you there this upcoming week!

First F65 Anamorphic Aerial Footage

Monday April 8th NAB 2013 will take place like every year at the Las Vegas Convention Center. Bertone Visuals as its tradition contributes to the show with its own 4K contents shot with the Sony CineAlta F65 4K camera exactly like we did last year with the first self produced F65 camera test shot at Joshua Tree National Park. That camera test, still available on Vimeo and on this blog, was subsequentially licensed to Black Magic Design for the implementation of the DaVinci Resove 9 manual and its tutorials.

This year we graded the video starting with an official LUT from S-Log 2 to Rec 709 color space. The anamorphic footage was shot using a Hawk 75mm C series X 2.0 prime lens in conjunction with a SpaceCam gyrostabilized Systems mounted on a turbine powered A-Star helicopter piloted by the SAG movie pilot John Tamburro. The video will be displayed at NAB 2013 on a LG 4K Ultra HD TV set at Aberdeen’s Booth #N4919. Aberdeen designs Servers and Storage solutions for Post Houses and his Accounting Executive Steven B. Cohen contributed in the summer of 2012 to development of the Bertone Visuals DI Suite in El Segundo, CA.

A true 4K resolution video is going to be played also during the Fusion I/O party on Tuesday and the 4K DPX 10 bit sequence will be hosted on super fast Solid State Drives directly mounted on PCIe 3 cards.

Finally, Bertone Visuals Rental will have one of its Sony F65 at Focus Optics (lens manufacturer for the Ruby series PL Zoom 17-24mm T2.8) and many Cineped Rotary Sliders installed at BandPro Film and Digital booth.

Hope to meet you there this upcoming week!

Today Bertone Visuals became a proud Sponsor of Film and Digital Times. 

We are extremely pleased about joining Jon Fauer ASC Magazine which is really a great publication about technology and technique in Motion Picture Production.

Today Bertone Visuals became a proud Sponsor of Film and Digital Times.

We are extremely pleased about joining Jon Fauer ASC Magazine which is really a great publication about technology and technique in Motion Picture Production.

Here we are! One of the most complete DIT cart is now finally available for rentals. 
Dardo is a solution for feature films and high end commercials shot in Raw 16-14-10 bit. It has been designed with the Arri Raw and Sony F65 workflow in mind and besides its data management and editing features BV Dardo is also capable of becoming a Mobile Color Correction suite for On Site Colorists. 
Dardo is the ideal partner for shooting with the Bertone Visuals Alexa Plus with the Codex since it has the Codex VFS software pre-loaded and the Codex SAS Transferring Station. The captured 3K Arri Raw footage can be stored in the 20 TB raid 5 (all constituted by 3TB corporate rated hard drives) and through the Virtual File System software from Codex Digital it is possible to transcode in Apple Pro Res or Avid DNxHD with plenty of embedded metadata, LUTs, ALE and CDL files. Moreover , it is possible to process the same tasks with the Sony CineAlta 16 bit 4K Raw files sources using a combination of software and hardware such as Sony SR-PC 4 (10Gigabit Ethernet or eSata), Sony SR-D1 (USB 3.0 or eSata) and Assimilate Scratch Lab running on the MacBook Pro 15” Retina Display. The cart has multiple input/output pci video cards and a Aja Break Out Box that makes possible not only to edit with the Adobe CS6 Production Suite, but also to grade in Da Vinci Resolve v. 9 or create LUTs and using Assimilate Scratch Lab for dailies and sound synchronization. 

The MAC OS X graphic user interface (GUI) is displayed on a light Boland 16:9 monitor, whereas the color critical monitor is the Sony Oled PVM1541 Tristar. The DIT or the On Set Colorist can comfortably operate seated in front at both monitor with the luxury of an excellent Tangent Element Control Panel and Apple Bluetooth Keyboard and Track Pad. 

Finally, regardless if the compact dimensions, BV Dardo offers LTO 5 back up that allows to store 3TB on removable cartridges that get handled by the industry standard software BRU Producer Edition. 

Dardo is a state of the art technological DIT cart and makes elegantly much more than what is usually out there in the field.

Here we are! One of the most complete DIT cart is now finally available for rentals. Dardo is a solution for feature films and high end commercials shot in Raw 16-14-10 bit. It has been designed with the Arri Raw and Sony F65 workflow in mind and besides its data management and editing features BV Dardo is also capable of becoming a Mobile Color Correction suite for On Site Colorists.
Dardo is the ideal partner for shooting with the Bertone Visuals Alexa Plus with the Codex since it has the Codex VFS software pre-loaded and the Codex SAS Transferring Station. The captured 3K Arri Raw footage can be stored in the 20 TB raid 5 (all constituted by 3TB corporate rated hard drives) and through the Virtual File System software from Codex Digital it is possible to transcode in Apple Pro Res or Avid DNxHD with plenty of embedded metadata, LUTs, ALE and CDL files. Moreover , it is possible to process the same tasks with the Sony CineAlta 16 bit 4K Raw files sources using a combination of software and hardware such as Sony SR-PC 4 (10Gigabit Ethernet or eSata), Sony SR-D1 (USB 3.0 or eSata) and Assimilate Scratch Lab running on the MacBook Pro 15” Retina Display. The cart has multiple input/output pci video cards and a Aja Break Out Box that makes possible not only to edit with the Adobe CS6 Production Suite, but also to grade in Da Vinci Resolve v. 9 or create LUTs and using Assimilate Scratch Lab for dailies and sound synchronization.

The MAC OS X graphic user interface (GUI) is displayed on a light Boland 16:9 monitor, whereas the color critical monitor is the Sony Oled PVM1541 Tristar. The DIT or the On Set Colorist can comfortably operate seated in front at both monitor with the luxury of an excellent Tangent Element Control Panel and Apple Bluetooth Keyboard and Track Pad.

Finally, regardless if the compact dimensions, BV Dardo offers LTO 5 back up that allows to store 3TB on removable cartridges that get handled by the industry standard software BRU Producer Edition.

Dardo is a state of the art technological DIT cart and makes elegantly much more than what is usually out there in the field.