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.

Everybody in town these days is trying to get a Cine Ped system to try it on set. I have done it once and since then I never stop using it and I have always one or two with me when I’m involved in a production.
As you can see in the picture above that I have taken at Bertone Visuals Studio in El Segundo,CA the weight of a Sony CineAlta F65 fully geared-up with a 24-290mm PL Angenieux Optimo was not that much of a big deal for the Cine Ped system with the Quattro that can handle smoothly up to 85 lbs.
Anyway, I thought that it can be very informational to read what Shane Hurlbut ASC has to say about the Cine Ped so here there is the link to his recent blog-post enjoy it: 
http://www.hurlbutvisuals.com/blog/2012/10/the-cineped-full-360-rotatable-slider/

Everybody in town these days is trying to get a Cine Ped system to try it on set. I have done it once and since then I never stop using it and I have always one or two with me when I’m involved in a production.

As you can see in the picture above that I have taken at Bertone Visuals Studio in El Segundo,CA the weight of a Sony CineAlta F65 fully geared-up with a 24-290mm PL Angenieux Optimo was not that much of a big deal for the Cine Ped system with the Quattro that can handle smoothly up to 85 lbs.

Anyway, I thought that it can be very informational to read what Shane Hurlbut ASC has to say about the Cine Ped so here there is the link to his recent blog-post enjoy it: 

http://www.hurlbutvisuals.com/blog/2012/10/the-cineped-full-360-rotatable-slider/

This is what the Bertone Visuals Sony FS700 Cinema Style camera looks like and it is available for rent now.
As it comes out of the box from Sony the camcorder does not have a lot of accessories and records its footage on a 32GB high capacity SD card as 8 bit AVCHD Sony Codec.  
The non linear editing software Adobe Premiere Pro is capable to ingest directly without rendering this format and there is a free player somewhere on the Internet called VLC that allows to play this file format as well on Mac OS platforms. The NEX FS 700 UK comes together with an E mount Zoom lens from 18mm to 200mm, which is a good solution if you are thinking to shoot something ENG style and you need Auto Focus capability.
Nevertheless, we configured our own version “Cinema Style” to pull out the maximum out of this extraordinary Super Slow Motion camera.  Basically, we are offering the FS700 plain basic or with a sophisticated Cinema Style rig which includes: 15mm light weight rods, ergonomic adjustable handles, shoulder pad, Anton Bauer Power, Cheese Plates, Electronic Viewfinder and the famous Sound Devices PIX 240 10 bit external recorder. The recording on the Pix 240 is 10 bit and allows to save in Apple Pro Res 4:2:2 for Final Cut or in DNxHD for Avid. The transferring of the files from the fast SSD plugged in the PIX to the Laptop or to the external drive can happen via USB 3.0, Firewire 800 or eSata connectivity.
Finally, we decided to use a 16X9 Inc PL mount adapter so we can get access to CP2 cinema lenses, Cooke S4i, Panchro  or even Zoom lenses that will allow a much more professional quality.
The Movcam cheese plates provide a useful support for the mounting of any additional accessory such as an on board camera monitor (TV Logic 5.6”) on Noga arm if we are planning to have a First AC pulling the focus. In that case we can still add to the package an O’Connor CFF -1 follow focus and a light Arri LM15 Matte box.  
This camera has 3 built in settings for the Neutral Density filters and the capability to record 240 frames per second in full HD 1920X1080 progressive. Higher frames rates are possible (480fps, 960fps), but the resolution will consequentially decrease.              

This is what the Bertone Visuals Sony FS700 Cinema Style camera looks like and it is available for rent now.

As it comes out of the box from Sony the camcorder does not have a lot of accessories and records its footage on a 32GB high capacity SD card as 8 bit AVCHD Sony Codec.  

The non linear editing software Adobe Premiere Pro is capable to ingest directly without rendering this format and there is a free player somewhere on the Internet called VLC that allows to play this file format as well on Mac OS platforms. The NEX FS 700 UK comes together with an E mount Zoom lens from 18mm to 200mm, which is a good solution if you are thinking to shoot something ENG style and you need Auto Focus capability.

Nevertheless, we configured our own version “Cinema Style” to pull out the maximum out of this extraordinary Super Slow Motion camera.  Basically, we are offering the FS700 plain basic or with a sophisticated Cinema Style rig which includes: 15mm light weight rods, ergonomic adjustable handles, shoulder pad, Anton Bauer Power, Cheese Plates, Electronic Viewfinder and the famous Sound Devices PIX 240 10 bit external recorder. The recording on the Pix 240 is 10 bit and allows to save in Apple Pro Res 4:2:2 for Final Cut or in DNxHD for Avid. The transferring of the files from the fast SSD plugged in the PIX to the Laptop or to the external drive can happen via USB 3.0, Firewire 800 or eSata connectivity.

Finally, we decided to use a 16X9 Inc PL mount adapter so we can get access to CP2 cinema lenses, Cooke S4i, Panchro  or even Zoom lenses that will allow a much more professional quality.

The Movcam cheese plates provide a useful support for the mounting of any additional accessory such as an on board camera monitor (TV Logic 5.6”) on Noga arm if we are planning to have a First AC pulling the focus. In that case we can still add to the package an O’Connor CFF -1 follow focus and a light Arri LM15 Matte box.  

This camera has 3 built in settings for the Neutral Density filters and the capability to record 240 frames per second in full HD 1920X1080 progressive. Higher frames rates are possible (480fps, 960fps), but the resolution will consequentially decrease.