More Osmo X3 Footage

Categories: Miscellaneous 3 Comments

more osmo footage

One of my contacts on Linkedin, Paul Bunyard has made a show reel using the DJI Osmo with X3 camera head.

Paul “In November DJI released its much anticipated handheld 4K camera gimbal system, called the DJI Osmo. I was one of the first to preorder and take delivery of it and since then I’ve used it on my freelance shoots.

It obviously won’t replace its big brother the Ronin that I use for the larger cameras but its a handy tool for shooting in public places and out of the bag quick shoots !

I’ve put together a few clips that I’ve shot with the Osmo, its a fantastic tool for the money.”

osmo scott

My only disagreement with Paul is the Ronin, I hardly used my Ronin due to its cumbersome size and weight on your arms. I can’t see what advantage the Ronin has over the Osmo especially since the Osmo can use the alternative X5 camera.


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

Sony announce a “new” XQD card at CES ?

Categories: Miscellaneous 3 Comments


Sony’s XQD-M series provides users ultra-high data transfer speeds of up to 440MB/s (read) and 150MB/s (write) for stable burst shooting, and the ability to backup 64GB of data in approximately 3 minutes, when using Sony’s newest card reader technology. The XQD format’s unique and robust structure, featuring card thickness and pin protection, and a tough, reinforced outer case is made for reliable use.

As you can see Lexar already have this card so whats “new” about Sonys announcement ? A 256 GB XQD would be new, we already have 400MB/s Sony G cards so whats so special about this card unless its the price. The Lexar 128 GB card is £300 while the Sony card is £114 dearer.

Sony Warning

On top of this Sony have produced this advanced warning telling us that this card will need v3.1 software to work with our FS7 or a Z100…which probably means the Lexar won’t work till we get the updated firmware. Why would you need this card when the “G” series does everything on an FS7 ? My thanks to Rose Jennings for this one.

If anyone can shed light on this Sony announcement please let me know.

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

“ISO is an almost meaningless sensitivity measure for a video camera” Alister Chapman

Categories: Miscellaneous 10 Comments

dB v ISO

As I reported back in October last year ISO is confusing and Alister Chapman has just verified this with a blog article on ISO.

For many years video camera operators only had a gain setting and due to relatively noisy cameras it was ingrained into you not to go above 0dB, so extra light was used indoors to achieve this goal.

People like to impress and think they are technically confident like a so called “Director” who told me to switch my Sony FS7 to Slog as thats the preferred setting…why…did he have a clue why he was asking me to do this…no, only that someone in his past had told him it was “better”.

So now we have a band of so called evangelist camera operators who talk about ISO rather than dBs because its “Cinematic speak”…”Oh I produce films not video”…sorry aren’t you using a video camera !!! I think the term “Digital Cinema” probably suits what we are trying to achieve these days…thank you David.

Remember when you use a film camera your ISO or ASA is fixed, usually at 125 ASA to give you less grain thats why in Cine EI mode on a Sony FS7 you can’t adjust the ISO when its in that mode. The Sony FS5 on the other hand has not got Cine EI, only Slog, but you can still play about with the ISO which you can’t do with a cine camera.

Unless your camera takes good old ASA speed rated film…you are still making a video. “Oh but its 24p”…hard cheese give me 50p anytime, in fact Nolab are just about to launch the digital film cartridge for all you film buffs.


Here we have the Nolab Super 8mm “film’ cartridge at the heart of the Nolab Digital Super 8 Cartridge is a tiny but powerful 5 megapixel image sensor similar to the one in your smartphone. Combined with a custom glass objective lens, the sensor focuses on a ground glass image plane pressed against the camera’s film gate. By using a 5 megapixel sensor we can capture 720p HD footage at the native Super 8 aspect ratio of 4:3.
Processors integrated into the image sensor are able to  process and encode the footage in real time to a removable SD card. Optionally the same processors can apply one of two predefined Film Look color correction filters to the footage.
That sounds simple enough, To allow the Nolab cartridge’s image sensor to synchronize with the camera’s shutter, a unique sensor had to be developed. It’s this design that allows the cartridge to work properly in any camera at any frame rate up to 60 fps.

Back to ISO…If you work mainly as I do with rec 709 stick to dB and you won’t go wrong, 0dB is the world standard setting for the best, quietest pictures your video, cinematic camera can produce.

“Oh but my Sony FS5 is not so good in low light” fine you have 3 options…

1. Boost the gain

2. Add extra light

3. Use a lens with better low light capabilities like an f1.8 constant aperture lens.

Unfortunately because some of the cinematic rantings get through we get a second set of guidelines called ISO which in the words of Alister Chapman is indeed meaningless, so like lemmings we all listen to those ranting on about cinematic this and “must have 24p” that, we have a legacy of two crafts joining forces and confusing the hell out of each other.

If you want the “film” look then use film and stop this utter nonsense of pretending a video camera will produce film when it can’t, it may produce a cinematic look but thats not film.

super8_press v2


Kodak are reintroducing Super 8mm film for all you film buffs the Kodak Super 8 Revival Initiative reaches far beyond the introduction of a new camera. The company has built a roadmap that includes a range of cameras, film development services, post production tools and more. “It is an ecosystem for film” said Jeff Clarke, Eastman Kodak Chief Executive Officer. “Following the 50th anniversary of Super 8, Kodak is providing new opportunities to enjoy and appreciate film as a medium.”

Film has generated huge buzz in Hollywood recently as the chosen medium for award-winning movie directors and blockbuster movies. Now the Kodak Super 8 Revival Initiative is being applauded by the industry’s top directors, many of whom got their start on Super 8 film.

super 8 canon

Kodak “Shooting Analogue has never been so easy. When you purchase film you will be buying the film, processing and digital transfer. The lab will send you your developed film back and email you a password to retrieve your digital scans from the cloud so you can edit and share in any way you choose.”

Kodak film 2

Now we shall see the men from the boys, ASA ratings input into a light meter, no image stabilisation and about 3 minutes of film per cartridge and no sound track. The cost of buying and getting your Super 8mm film cartridge processed is expected to be between $50 to $75 US.

I have been fortunate to see and test over 25 camcorders over the last few years and have come to realise that sensor size dictates to a greater degree how noisy a camera will be so going by my rule of thumb…

3 Chip 1/3″ camcorders use NR circuits to try and mask chip noise, 1″ single chip camcorders are less noisy at 0dB and give a better shallow depth of field, 3 chip 2/3″ perform a lot better than 1/3″ and tend to be better in low light and super 35mm sensors tend to be able to boost the gain way beyond the smaller sensor cameras and have exceptional depth of field properties. The one thing that is the same with all these cameras is 0dB the same cannot be said about ISO ratings.

For more information on the new Kodak film service:

More reading from Alister Chapman go here :

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

4K Blu-ray DVDs due this year

Categories: Miscellaneous 3 Comments

4K Blu ray

Samsung, Sony and Panasonic will no doubt be producing some of the first 4K Blu-ray players to accommodate the influx of 4K discs.

Apple on the other hand will have to update their Blu-ray destination for 4K in FCPX and new 4K DVD burners will hopefully be produced. Adobe will be left out in the cold with Encore no longer being supported, that will leave Premiere Pro CC in a very poor position and may even spell the death for the platform.

Its about time 4K was given its place for video producers to have a choice, many of us are still producing DVDs for many productions and having 4K DVDs in your tool bag will offer clients another way to show off their products.

As we all know many of us are using media players or USB memory sticks to output HD and in some cases 4K but it has not caught on and options are what the client wants. The main downside to media players and USB memory sticks is the lack of chapter marking as you get with DVDs


The term UHD is the new buzzword for 16:9 4K footage, adopted mainly by the television manufacturers like Samsung, who have produced some cracking UHD rec 709 televisions for 2016.

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

MOVI the future of live multicam is in your hands ($399 after April launch)

Categories: Miscellaneous 1 Comment


Movi title2

2016 starts with a bang…here is a small unobtrusive 4K camera that will set the heather alight when it becomes available. This is what 4K was made for, cutting in and out of a 4K sensor via HD. Now you don’t have to be an expert to see the quality when close up isn’t what true video professionals would produce but as a quick live streaming tool with all the production capabilities its brilliant. Education, theatre use, video conferencing for starters.

Up to its launch date of April you can order the camera for $199 which is only £135, you would think I was earning out of this !

This is used to great effect on the JVC GY-LS300 and the Sony FS5 where you can electronically zoom 2x with no artefacts. This is where this MOVI concept may let itself down if it goes beyond the 4K sensors capabilities of a 2x zoom within an HD environment.


This is where 8K, 16K will make gigantic strides when used with cameras as an electronic zoom giving us 4x and 8x with no degradation in picture quality.

To get a true feel for this watch the video…now no one is saying this will take over an HD multicam shoot but the concept is revolutionary and with time can only get better.

For more details and that half price deal go to

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

Sony FS5 showing Artefacts in UHD mode is “NORMAL” Update

Categories: Miscellaneous 12 Comments


Many Sony FS5 users are experiencing artefacts in UHD mode which they seem to think is a processing problem but 3200 ISO with standard gamma is +9dB gain so its noisy and on top of the 8 bit codec its compressed 32:1…you can’t avoid artefacts.

Alister Chapman ” I believe the edge tearing artefact reported by some is due to the temporal noise reduction that the camera uses. As you pan or tilt the camera the areas around edges will change from frame to frame while large more solid areas of the picture change little. Because of the differences from frame to frame you won’t get any noise reduction in these areas so edges can become coarse and “fuzzy” or jittery as there is on the one hand a marked increase in noise on the edges and at the same time a ghost image from the adjacent frames. At 0db this is barely visible and certainly not an issue with real world shots but ramp up the gain and this increases rapidly. These are fairly typical side effects of temporal NR.”

“The FS5 is a great little camera, I really enjoy shooting with mine and I think the results I am getting are great. I know that I can get a technically better 4K/UHD image from my FS7 or F5, but sometimes it’s not just about getting the best technical quality. The FS5 allows me to shoot more freely, it’s a breeze to carry around or travel with, I can throw it on a gimbal, on the end of a microphone boom pole, chuck it and a bunch of lenses in a small back-pack, it’s fun to use! As a result I’m getting shots that I just can’t get with the FS7 or F5.”

See more about this issue at XDCAM-USER

Andrew v2

Andrew Reid from EOSHD counter claims Alister Chapman and reckons the edge tearing is a bug that Sony need to fix, Andrew also owns the Sony FS5.

You can read Andrews response here

HDW : I will be running my own tests today as I am probably one of the few not to rush in and update my FS5 to firmware 1.10 though there is no indication that the new FW is to blame.

Sony seriously need to address this ASAP by making a statement via Japan from the people who know this camera inside out, I do feel Alister’s +9dB scenario a bit hard to grasp as I have always tested most of my review cameras up to 9dBs and the majority of large sensor cameras cope well at 9dBs, especially super 35mm sensors.

It does not help that the “Native” ISO changes dependent on wither you are in standard gamma or Slog !


Confuse v2

Here is a video which clearly shows the 8 bit UHD compression artefacts…

Sony FS5 Artifacts in UHD from Glass Ink Media on Vimeo.

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

Finally we get to the truth about commissioning in Scotland.

Categories: Miscellaneous No Comments

BBC-front copy

Director General Lord Hall of Birkenhead is due to appear at the Scottish Parliament later this month as part of the inquiry into BBC Charter Renewal.

With the SNP and its allies calling for BBC Scotland to be replaced with an independent broadcaster, Lord Hall will be braced for a hostile reception.

However, the most serious claims he must answer relate to a deliberate attempt to “subvert” the BBC’s Home Nations funding quota.

For the past seven years, the Corporation has voluntarily agreed to commission 17 per cent of its network programmes from Scotland, Wales and Northern Ireland.

However, according to Glasgow-based production company Matchlight, BBC bosses have devised a way to get around their own rules – at a cost of up to £50million a year to the Scottish economy.

In an explosive statement to the inquiry, Managing Director David Smith says: “Since 2008 the BBC has deliberately worked with non-Scottish production companies… to undermine and frustrate the purposes of the Scottish quota on an industrial scale.”

He said the practice is known as ‘Lift and Shift’, where London-based companies set up tiny branch offices north of the Border in order to qualify for the Scottish quota.

Since the quota was introduced, TV producers such as 12 Yard, Shed, Lion TV, Mentorn, Victory, IMG and ITV Studios have all opened or expanded Scottish offices.

According to Ofcom, more than 60 per cent of programme hours classed as Scottish by the BBC were made by production companies headquartered outside Scotland.

Mr Smith said: “Without adding 1p to the BBC’s network content budgets the Corporation could add between £30million and £50million to Scotland’s creative economy simply by moving away from Lift and Shift.”

Stewart Maxwell MSP, the SNP convener of the Education and Culture committee, has now written to Lord Hall to ask him to explain the damning allegations when he comes to Edinburgh on January 12.

He writes: “Please respond to points made in a written submission to the Committee from Matchlight regarding how the BBC’s commissioning practice has operated to subvert the spirit of the current Nations quota.

“Specifically, is it appropriate to set 100 per cent of a project’s budget against the Scottish/Nations quota when a lesser share of the overall budget is actually spent in Scotland on that production?”

The inquiry papers also reveal an extraordinary range of demands, warnings and predictions about the future of television north of the Border.

John Archer, chairman of Independent Producers Scotland and a producer with Glasgow’s Hopscotch Films, said: “Up until the mid 1990s the budget for network drama made from Scotland was in Scotland.

“Head of Drama Scotland proposed how it was spent, and commissioning was a discussion. There were many network dramas made in Scotland, telling Scottish stories in Scottish voices. But then the money was centralised (ie went to London). TV drama from Scotland has been in decline ever since.”

Dramas produced by BBC Scotland before the mid 1990s include Tutti Frutti, which launched the careers of Robbie Coltrane and Emma Thompson; The Crow Road, with Joseph McFadden, Peter Capaldi and Dougray Scott; the award-winning Just Another Saturday, with Jon Morrison and Billy Connolly; Takin’ Over The Asylum, which introduced viewers to a young David Tennant; and Hamish McBeth, with Robert Carlyle.

Mr Archer is one of several senior figures backing the SNP’s demand for an independent Scottish BBC, although he admits that viewers would “probably have to switch to BBC England to watch Eastenders”.

He also predicts that the relative success of Outlander, which has been popular in the USA, could lead to a golden age of historical adventures set and made in Scotland.

He writes: “Alongside the contemporary stories, the new genre of Scottish historical ‘westerns’ with Tartan, claymore, dirk and pistol has come of age.”

The inquiry, which will open at Holyrood on Tuesday, will even hear calls for BBC Scotland to cancel its River City soap opera.

The Scottish Media and Communication Association said: “Some [members] thought that BBC drama production is poor, because River City takes up most of the drama budget, yet it is only shown in Scotland.

“With the same resources original plays could have been commissioned and some believe that the decision to invest all drama resources in River City was wrong.”

The BBC submission highlights popular and award-winning Scottish programmes such as Katie Morag, Shetland and Stonemouth, but acknowledges that more can be done.

It states: “However, popular as such programmes may be, the BBC knows there is a growing need to see the full diversity of the UK’s cultures and communities better reflected on screen and on air.”

Taken from,

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

Happy New Year to all my readers…Have a great 2016

Categories: Miscellaneous 7 Comments

Happy NY

As I type Adelaide in Australia has already had their New Year, so a great New Year to all my Australian readers and have a xxxx on me.

I will have a look back on 2015 over the weekend and two new user reviews…First a review of the Super Softie from Rycote and secondly a user review of the DJI Osmo with its new updated firmware installed.

Have a great night and a successful 2016 from all at HD Warrior.

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

JVC GY LS-300 Review with FW v2 and Sigma 18-35mm f1.8 ART lens

Categories: Miscellaneous 2 Comments

JVC FW2 title

The Scottish weather has been truly shocking, a review that should have been done and dusted in two weeks is now in its fifth week, my thanks to JVC for extending the LS300’s stay.

300 from top_HDR v2

The new firmware v2 is a spectacular update for this camera bringing J-LOG and a 2.3x digital zoom function for prime lenses.

I also finally got my Sigma 18-35mm f1.8 ART lens with Canon mount which worked a dream with the supplied Metabones Speedboster. I had to set the VSM to m4/3 to avoid vignetting.

Me and 300

So here is my 15m video review for you all to enjoy…a great 2016 when it comes to all my readers.

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

DJI Release new updated firmware on Christmas day v1.4.1.80

Categories: Miscellaneous 2 Comments

Osmo-WS-clyde-UD FW

I didn’t have my computer on during Christmas so it came as a very pleasant surprise to learn DJI had posted a cracking Christmas present for all OSMO owners.

Here is the Major firmware additions…

  1. Fixed the issue of the camera restarting unexpectedly when recording in 4096 x 2160.
  2. Improved horizon level accuracy for the roll axis.
  3. Reduced gimbal drifting in timelapse mode, improving stabilized image capture.
  4. Optimized handle movement control.
  5. Optimized control for Selfie Mode.
  6. Fixed a display issue when attempting to connect multiple mobile devices to the Osmo at the same time.
  7. In panorama modes, the gimbal automatically adjusts the roll axis to the horizon level.
  8. Optimized 4K video playback performance.
  9. Added support for firmware updates through the DJI GO app.
  10. Added audible prompts for the firmware update process. The Osmo will sound “D—DD……” when the update is

    complete and sound “D-D-D-D……” if the update has failed.

Osmo plus screen

We were using the Osmo this morning and that firmware would have been useful but hey ho at least they have addressed most of the major issues.

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

Pages: Prev 1 2 3 4 5 6 7 8 ... 198 199 200 Next

%d bloggers like this: