SR R1 Recorder and 18-252 Zoom

N

nsoltz

Veteran
I am fortunate enough to have the use of the Sony rig for the weekend with F3 equipped with S Log and 1.2 firmware, the 18-252 zoom and the SR R1 recorder. Shot a few clips late afternoon with Timur Civan and Tom Wong. We added my Pix240 to the equation.

While I will be writing a more detailed review for publication next week, a few quick observations. I am certain that Timur and Tom will jump in as well.

1) 18-252 zoom will fill a niche. With the 1.2 firmware, the lens has servo zoom control via the rocker and full auto modes. It is configured just like the EX lenses. Feel is plastic, like the primes. Short focus range. Steady Shot function definitely is good enough to shoot hand-held. Very little flare. Contrast is a bit flat. It serves a niche because a S35 zoom in that range really doesn't exist. And it will add to versatility of camera.

The SR R1 recorder is the same as having an HDCAM SR deck on your shoulder (or tripod). The software to copy files over ethernet or clone the files to HDCAM SR tape (and from HDCAM SR tape to the card) isn't ready yet. But we were able to capture DPX files on Tom's computer through his Decklink and I was able to capture on my system through the Kona 3G. Virtually lossless.

We also recorded S Log 4:2:2 to the Pix240 via the SDI port. ProRes HQ is perfect. We noticed some macroblocking in DNxHD 220 footage.

Note that the 1.2 firmware has the EI feature for S Log allowing you to drop the ISO to 800 or raise it. It could add a stop of dynamic range giving the camera potentially 14 stops of DR. Good feature. No word when 1.2 will actually release. Haven't seen anything quirky in the beta which is on the camera so they most likely are close.

I have the unit for the weekend and will be writing my article over the coming week.

Ned Soltz
 
The SR deck is unreal.

Built like a SR deck should. The footage is astonishing.

We ran out of light so the footage isn't too pretty, but we recovered useable footage from grossly underexposed images.
 
anybody who knows how broadcast and bigger jobs work, that are deeply embedded in a SR tape workflow, which is pretty much most of broadcast (whatever you shoot, usually ends up on hdcam and or SR sooner or later) the R1 is a pretty big deal. It's a fraction of the price of SR decks that used to hook into cameras on set, and a quarter of the size too. Big, heavy and expensive for the indie folk, but cheap, versatile, and fits into a legacy workflow and future proofs at the same time for networks and post houses alike. The build of it is incredibly robust, and if you've ever used a SR deck before in your life, the controls are identical, and even more simple and super fast to navigate.

power consumption is pretty low, and it records quality identical to what comes off the tape. Sony knocked this one out of the park IMHO.
 
So what is the deal on pricing? I have heard a lot of numbers since the unit was previewed almost a year ago. It appears to depend on the memory card that comes with it. Does anyone know the street price of the unit and what card(s) come with it in terms of size? And how much are the cards are going to cost?
 
The EI adjustments allowed by 1.2 add significantly to the versatility of S Log. I can hardly wait for release as well. No indication of when and, if I did know, then I couldn't tell you ;)
 
Thank you very much! This is incredibly helpful for those of us deciding on the purchase of this lens (and especially timely given that we'd have to purchase the F3 before end of this month to qualify for the $1,200 rebate on the lens!
 
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nsoltz said:
The verdict is in my article currently on home page at www.dv.com

Ned
Click to expand...

can i ask... is it of much use to have the rocker with this lens? judging by the photo on your blog, Ned, the beast is going to require handles or something up front... rails at least to hold onto. to me, doc or ENG shooting means the ability to have both hands on the lens; one on the rocker handle/grip, supporting the camera, while the other can adjust iris and focus.
 
MPB said:
can i ask... is it of much use to have the rocker with this lens? judging by the photo on your blog, Ned, the beast is going to require handles or something up front... rails at least to hold onto. to me, doc or ENG shooting means the ability to have both hands on the lens; one on the rocker handle/grip, supporting the camera, while the other can adjust iris and focus.
Click to expand...

I found it possible to balance the camera and use the zoom rocker. What I didn't discuss was the Chrosziel rig itself that Sony used. For our tripod testing, we removed the Chrosziel and used Timur's Zacuto baseplate (and I also use a Zacuto plate). Additionally, those Chrosziel handles aren't adjustable. I own the Shape handles, which at $300, cost a fraction of the Chrosziel handles and are adjustable. If were to shoot the handheld rig with handles and baseplate, I would also use my ENG Rig from DVTEC.TV. That would provide additional support and make me feel much more secure with holding camera by one handle and rocker zooming with the other. But in any event. you still would need to remove a hand in manual focus or manual iris mode to adjust the lens.

Ned
 
is there any where to plug in an external zoom control?
are the gears film pitch, 0.8?
Hopefully, I can just use my mircoforce.
 
Nothing that I saw for external zoom control but I think it is a question that I need to pose to Sony just to make certain I didn't miss anything. Since the EX lenses can accept external control, it is entirely possible.

While it does have an external ring that will mate with follow-focus, it felt much more like ENG lens than a Cine lens.
 
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