The Jump Cut follow on from the Wrong Camera

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From the makers of the Wrong Camera comes the edit called the Jump Cut. Making lite of Final Cut 10, 4K and a
mention for Philip Bloom.

You can see the Wrong Camera here…http://www.hdwarrior.co.uk/2017/03/25/the-wrong-camera/

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DJI Mavic 2 Pro and Mavic 2 Zoom

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DJI have done it again with the new Mavic 2 Pro and Magic 2 Zooom but why spend time reading when their video tells the full story.

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Finishing off a Speedway film I made 26 years ago

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26 Years ago I made a documentary called Steve Lawson the Story so Far and brought it out on VHS video tape.

Back then 26 years ago we were filming with Panasonic F10 camcorders with a 15x zoom lens, one of the first commercially available CCD cameras on the market. The cameras were attached via an umbilical cord to a portable S-VHS recorder that hung at the side on your left shoulder.

This was Steve Lawson and his family 26 years ago down at Maryport in Cumbria.

Simon, Steve, Kath and Richard

Since this picture was taken Simon Lawson has become a major paralympic competitor after paralysing himself in a motocross bike accident.

Simon Lawson

Richard Lawson 3rd from left © Ian Adam (Glasgow Speedway)

Wee Richard has also become a speedway rider, like his father before him riding for the Glasgow Tigers last season.

This brings me onto the reason why my Speedway footage has now been resurrected from the archives, stored on Super VHS (S-VHS) video tape my ultimate criteria for all my work is quality.

S-VHS had a resolution of 460 lines almost 100 lines more than VHS at that time. S-VHS was the best you could edit and master onto 23 years ago if you were not using Hi band Umatic.

Colin Mackie from a frame from the original 4:3 SD footage

One of my interviewers back then was my speedway friend Colin Mackie who recently as last year 2017 lost his son Greg, in tragic circumstances.

Colin son Greg was also a speedway rider and Colin wants Gregs name to be carried on in the Greg Mackie Speedway Academy.

When I discovered Greg had died (Not speedway related) I jumped at the chance to help my old friend Colin. I immediately decided to finally re-introduce the Steve Lawson Story on DVD and film an updated interview with Steve.

I had been keeping my end of season tapes aside always meaning to bring them out on DVD but as usual sat on them.

We now film in 4K 50p with Panasonic GH5 cameras, possibly not the best for a fast moving sport like speedway but as we are not filming the sport every second week I don’t have to worry about it.

At the end of the 1992 speedway season I was given an ultimatum from the people running Glasgow speedway at that time, it went from a nominal sum to almost 5 times or they get someone else. Glasgow speedway were not aware that this sport was taking a heavy toll on my brand new cameras, Panasonic F10s especially the lenses, they were being slowly destroyed by the red shale dust. Also that was the year Steve Lawson decided to retire and that would mean a big loss in sales during the 1993 season so I gracefully retired from filming speedway, never to return till about 3 years ago when I decided to produce a review of the JVC GY-LS300.

I was asked if I would like to come back but politely refused as I new the damage it would have on my video equipment.

Ken and Chris Malcolm at the under 21s recently

Don’t get me wrong speedway is a fantastic spectator sport full of great friendly fans and a brilliant family day out in fact my interviewer Chris still goes to speedway with his own children and his father.

To this day I don’t think Glasgow Speedway realised what they had let slip from their hands, we were the best at what we produced far ahead of the competition and still are from what I gather. Sadly I am a lot older and no longer have the energy or the drive to start producing speedway again. I loved popping into the 2018 version of the sport finding the promotion very friendly and a great bunch of people to deal with.

The DVD, Steve Lawson the Story is being distributed by Colin Mackie for £15, collected, probably at the Glasgow track shop but thats still to be finalised.

Below is a taster from todays DVD though on the whole its 4:3 SD footage upscaled to 1280 x 760 to accommodate todays 4K downscaled footage.

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Using the 4K JVC GY-LS300 on the Arran film set “UNCOWED”

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Chris Attkins (Director)..”We have just completed shooting our first ever full-length feature film, a ridiculously bold adventure considering that we are now retired and no longer employ a professional crew. However, our colleagues of thirty years generously shipped themselves over to the Isle of Arran for a fortnight to help make it happen. We opted to work in 4K UHD, utilising our upgraded Sony PX-70 a DJI OSMO and Mavic Pro. For the main camera, HD Warrior Philip Johnston very kindly offered us the use of his JVC GY-LS300, a large sensor native 4K camcorder with prime lens and follow-focus facility. This was a whole new experience for us, so we asked to borrow it well ahead of the shoot to familiarise ourselves with its capabilities and limitations.

The first thing you realise is that this is definitely a camcorder that requires a decent tripod. It’s big, and fitted with rails and a matte box, it’s bulky. But what a solid piece of kit! It records beautiful, clean pictures, with loads of noiseless chroma. I’ve always liked JVC’s skin tones and the LS300 is true to form. Now that we’re in post production, it is a joy to have so much leeway to tweak its footage as required. Despite its much higher data recording rate, we encountered no problems using the same memory cards as in our other cameras, namely SanDisk Extreme Class 10 UHS 3. We used both 95MB/s and 90MB/s without any difficulties. Do bear in mind, though, that you’ll only get 55 minutes on a 64GB card.”

“To minimise continuity problems, we shot a lot of scenes using two or three cameras simultaneously. Matching the JVC to the Sony and Panasonic is straightforward in FCPX, but you would struggle to do this in reverse as there is much more latitude in the JVC’s output.

There are limitations to the LS300. First up, there’s no image stabilisation when using a prime lens, another reason to use a tripod. The camera’s flip-out viewfinder provides a poor representation of its pictures, so an external monitor is highly desirable, although not always practical. However, nothing detracts from the magnificent picture quality. Whereas the Sony PX-70 is capable of turning in decent footage, everything has to be set spot on, especially exposure, which can be hard to judge in the field, even with zebra and histogram. The JVC is more forgiving, so less chance of blown highlights, and with follow-focus control, there’s also a better chance of shots staying sharp!

All in all, the JVC GY-LS300 contributed to the lush look of our film and we are very grateful to have enjoyed using it.”

Richard the DoP on the film told me “He loved the JVC LS-300 as he is a big JVC fan himself but the poor viewfinder was a disappointment, fortunately Chris the director had his own 7″ LCD monitor attached to the Millar tripod via a magic arm.”

I had noted this on my review of the LS-300 of my disappointment of the LCD in sunny conditions a larger viewfinder would be preferred.

For all your video production needs in Scotland, get in touch with Small Video Productions

Advert for H. Preston Media, Sony PXW-Z280 and Z190 camcorders.

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Latest camcorders now in stock, the Sony PXW-Z280 4K camcorder

The Sony PXW-Z190 4K camcorder are both in stock from H. Preston Media. Tel 01684 575486

For all your video production needs in Scotland, get in touch with Small Video Productions


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