Philip Bloom Filmmaker, DP, Director Tue, 26 Aug 2014 03:08:52 +0000 en-US hourly 1 Get your film made with #ProjectFilmSupply from The Music Bed Mon, 25 Aug 2014 21:14:37 +0000 parallax3aThe Music Bed have been a revelation for me. I adore music, and my taste is very eclectic and my collection of music rather large. It would be great to be able to use what I want on all my films, but of course it doesn’t work that way.  So when TMB came along and I started to browse their library, even though I had never heard of the artists, the music was fantastic and I have used them so many times over the past two or so years (maybe longer?) Their tracks in my epic reviews have helped carry their length, but it’s not just my reviews. So much of my personal films are scored to TMB music. 

Strangely, they asked to come to my home earlier this year to make one of their mini docs. Christian Schultz who shoots these is a visual poet and a lovely chap. I thought it was a total waste of his skills, talent and time to come with the team to my little house, but they insisted and I was pleasantly surprised by the mini doc they made. Even though I was utterly jet lagged when they did the interview and don’t remember saying half of the stuff in here. It’s way more personal than normal interviews. Oh well.

I wanted to share this on my site without doing a specific post, which would come across as a bit too narcissistic! Thankfully this was the perfect chance to share it here rather than just on my social media outlets!


Making Room from The Music Bed on Vimeo.

Anyway, back to the main topic of the post. It’s always flattering to be asked to be a judge for filmmaking competitions, and this one is fascinating. Rather than submit your film to win the prizes, you submit your idea. We, the judges, with the help of the community,  then choose the top 3 and then the winner. The prizes are pretty epic. Let me hand over to the fellas at The Music Bed to explain properly: 




When it comes to championing independent filmmakers of every skill level and walk of life, we can’t think of a more kindred spirit than Philip Bloom. Philip was one of the first and finest to latch on to The Music Bed’s vision of licensing relevant music to filmmakers — as well as inspiring and resourcing creatives to tell stories better than ever.

Philip is also a contributor to The Music Bed’s sister stock footage licensing company, Film Supply. Together, we’re raising the stock film aesthetic bar and challenging creatives to grow in their knowledge and love for film and meaningful storytelling.

That’s why we’re so excited about our latest campaign: #ProjectFilmSupply. The idea is pretty simple. We’re going to help filmmakers bring their dream projects to life.

#ProjectFilmSupply from The Music Bed on Vimeo.




This is the biggest giveaway we’ve ever done, with over $50,000 in prizes available from seven incredible brands: RØDE, Kessler, Freefly, G-Tech, Blackmagic, No Film School, Zacuto, LensProToGo, and Squarespace plus music and film licenses from The Music Bed & Film Supply. All filmmakers have to do is pitch their short film ideas on, and the public will vote on which films they want to see made.

This isn’t just a chance for filmmakers to win some money and some gear. It’s a chance for them to bring the projects they’re most passionate about to life.



Here’s how #ProjectFilmSupply works, step by step.


Step 1: For one month (starting August 4), we’ll ask the filmmaking community to submit a short film idea + mood board for the project they’ve always dreamed of creating.

Step 2: Those who submit an idea will ask their friends, family, and followers to vote for their projects.

Step 3: The Community + TMB will decide which three film concepts rise to the top and which one absolutely has to become a reality (the two runners up will receive loads of incredible prizes)

We can’t wait to see the amazing films that come out of #ProjectFilmSupply! Please spread the word, follow along, cast your vote, and if you have a dream project in mind — enter to win at!



TMB-PFS_Photo-2 TMB-PFS_Photo-1


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Video review of the Sony A7s!!! Wed, 06 Aug 2014 08:11:24 +0000

If you use any photos/ Screen grabs elsewhere, please credit Thank you!

Please read my ethics statement here

Philip Bloom A7s V2 1

The review is FINALLY DONE! Only 4 weeks this time, which is pretty good! There is a lot in it. Featuring footage from Brighton, Richmond, Maidstone, New York and Detroit. Used it a huge amount, including actual proper shooting jobs and in a variety of situations!

There is a very small amount of flesh on display here, not mine. Just a bit of painted topless ladies who pose for photos in New York. Might be not safe for work…captured as part of the street filming scenes.

As always with my reviews, I take my time to create the content which in turn helps me form my opinion, rather than just shoot some footage then put a review out based upon a snap judgment. Pointless.  You need time with a camera and time to truly form an opinion worth sharing. Should you listen to this opinion? Sure! Why not? Just don’t buy anything based on it, not on any one opinion… especially mine! Check out other reviews and try before you buy if you can!

If you do decide to get one the if you use any of the affiliates here (which don’t cost you a penny more) then it help fund any future reviews! They really are so financially illogical as they take so much time but I do still enjoy doing them…it’s just they take all my free time and cost a fortune! Also any use of the Vimeo Tip Jar feature is also appreciated. This can only be done through the actual Vimeo page where the video is hosted here. 


Rather than move my “Evolving review post,” I have just created a new one here and added the actual video review. The problem is the way the Facebook comment section works – if you change the publish date of a post, then all comments go! That’s crap! Especially as there are a few hundred there. So do check out the “No longer evolving review” post for loads more thoughts, photos and info!! You can download original 4k clips there too.

Below is the 9 Second abbreviated version! 






Sony A7s 4K quick test for download purposes. Cine gamma 2/ S-Log 2 from Philip Bloom Reviews & Tutorials on Vimeo.

Screenshot 2014-07-03 18.46.46

Processed with VSCOcam with 4 preset

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How to succeed as a video journalist Wed, 30 Jul 2014 21:28:38 +0000 filming in Gaza 10 years ago

filming in Gaza 10 years ago

PHILIP: I have been a journalist for 25 years. 17 of those were working as a news cameraman in some bloody awful places but covering some incredibly important stories.

Just how important people like Christian (who has written the guest blog post below) are must not be underestimated. Without people like him and the countless others working in TV news, risking their lives to make sure what needs to be told is told, we would live in the dark ages, and some of the most desperate plights of man, the injustices,  would never be highlighted and we would remain ignorant.

Yes, some TV news programmes are biased and their journalism can, at times, be questionable, but I am a firm believer that these are in the minority. UK TV news for example is forbidden to be politically biased, unlike UK newspapers, although in reality it’s not as easy as that. Anyway, this is for a different post.

For me, my 17 years in TV news were the most important years of my professional life. I learnt so much and would not be doing what I am today were it not for my time at Sky News. It’s rare to see people ask me about wanting to work in TV news. Everyone wants to make movies. Well I can tell you that working in this profession is one of the most rewarding careers you can have. It can be creative, exhilarating, terrifying, rewarding, soul destroying and life affirming to name just a few. Most importantly, you can be doing something that truly matters. That to me is important in life. I had to leave for many reasons. One of the key ones was it was changing me too much into someone who was becoming too bitter and too cynical. I needed to find a way to change this.

This is a brief guest blog post, essentially an introduction to Christian’s excellent book. All proceeds of the sale go to the Rory Peck trust, a wonderful thing to do, Christian. The Rory Peck Trust is the only organisation dedicated to the support, safety and welfare of freelance news-gatherers around the world. Best of luck with the e-book and for the excellent work you are doing out there Christian. Stay safe!




It doesn’t matter what you call yourself: cameraman, shoot/edit, video journalist, multimedia journalist, backpack journalist, SoJo, photog, shooter, photojournalist, video Producer, visual journalist…we are image makers who love to tell stories. We document the world around us, capture moments and try to explain them and why they are important. It‟s not just a job, it‟s a calling.

I’m Christian Parkinson a full time shooter/editor and VJ for the BBC and blogger at I’ve been shooting and editing national and international news for twelve years, firstly with ITN and then with the British Broadcasting Corporation. I spent four years with the BBC’s Africa Bureau where my work in the Democratic Republic of Congo won the prestigious David Bloom Award presented by President Obama. It was later shortlisted for an International Emmy.

I’ve always been a fan of books and blogs that look behind the scenes of our job and give a taste of the skills and logistics required. My favourite Phil Bloom post is his excellent article on traveling with gear Therefore I have recently finished writing a book that examines and explains the practical and personal skills needed to push your career forward. Camera Confidential is not about the technical side of video journalism. It‟s not going to explain white balancing, the difference between CCD‟s and CMOS sensors, and it won’t discuss camera specs (I’ll leave that to guys like Phil who know what they are talking about!). No, this book is the book I wish somebody had given to me when I started shooting many years ago. It will answer questions such as: How do I find my first job? What paperwork do I need to complete when travelling with kit? What gear should I carry in a war zone? How should I protect my camera when shooting in the desert/snow/jungle? How do I shoot an anonymous interview?

Chris with rebels in Libya

Chris with rebels in Libya

Working as a cameraman or video journalist in news and documentaries is one of the toughest but also one of the most satisfying jobs in the world. The years you spend shooting news and telling stories will stand you in excellent stead for any other challenge within the industry. As Philip Bloom told me: “I learnt from some amazing cameramen at Sky news. I knew nothing when I started. News cameramen work fast, think fast and react fast. I would always prefer to work with someone from a news background. You can always spot them. I would love to see the cameramen who look down on news shooters try it for a week! To create quality images under immense pressure is testament to the quality of people out there.”

Phil is one of many contributors to the book and his input sits alongside other giants of the industry like Darren “DC” Conway and Fred Scott who are multiple award winners for their outstanding news and documentary filming. It’s the interviews with guys like them that I think make this book special.

Chris with 5D in Kenya

Chris with 5D in Kenya

I’ve tried to keep Camera confidential short and concise and I’ve included handy lists like the one below that covers working in extreme desert conditions.

➢ The black colour of your camera will soak up the heat so keep it covered or in the shade whenever possible and don‟t leave the viewfinder tilted up toward the sun. Also if you are expecting sandstorms or helicopters to be taking off and landing nearby then have a cover for the camera ready – in Afghanistan I often keep a bin bag handy to throw over the camera to protect it from the immense dust cloud thrown up by choppers. Your cameras rain jacket can also be used.

➢ ▪Keep your kit clean. Carry a paintbrush to dust the camera down regularly. Be wary of compressed air as it can push the sand grains deeper into the system. Use a UV filter to protect the lens and keep it spotless otherwise you‟ll get shots ruined by dust.

➢ ▪Don‟t change disks or tapes in the open air, if you have to then do it as quickly as possible. Try and change them inside your vehicle or tent and then store them somewhere cool and in a waterproof/airtight case – Tupperware boxes can be useful for this.

➢ ▪Consider bringing some pelican cases and a pop up tent to store your gear in if staying outdoors overnight.

➢ ▪Take a backpack with a bladder (like a camelback) so that you always have easy access to liquid. Make sure you and your colleagues remind each other regularly to hydrate – you‟d be surprised how easy it is to forget.

➢ ▪Experienced South African cameraman Glenn Middleton has filmed extensively in the deserts of Africa and the Middle East. He has this advice: “Filming in the desert is a big challenge; I wish they made a condom for cameras. The dust gets everywhere, but now that cameras don’t shoot with tape anymore it is a bit less risky. Don’t make the mistake of trying to clean your camera with a blast of air, all you doing is blowing the dust further into your gear. Use a paint brush instead. The best plan is to keep the camera free from dust and at the end of your shoot take gear in for a service. I found that a few plastic bags help if you wrap it around the camera. It doesn’t make for easy filming but it‟s better than nothing.”

Oh, and did I mention that all proceeds from the book are going to charity? I decided that I wanted this book to help others within our industry and therefore I have released it in conjunction with the Rory Peck trust who receive one hundred percent of the money made from sales. If you don’t know them the RPT  provide practical assistance and support to freelance news-gatherers and their families worldwide, to raise their profile, promote their welfare and safety, and to support their right to report freely and without fear. Due to my own years working in Africa and seeing the huge risks that local freelancers take I’ve asked for any money made to help give safety training to shooters from the continent.

If you want to purchase a copy of the book then please feel free to follow the link below and click on the tab that says “get your copy of camera confidential”. Enjoy!





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Every Moment Counts – Producing Content With A Tight Turnaround Tue, 29 Jul 2014 18:58:44 +0000 pb_670x67


 Philip: Whilst I won’t be reviewing the Nikon D810, mostly due to the absolutely lack of any free time to get it done, you can read about it and see the images from it thanks to my buddy Preston Kanak’s guest post below. My Sony A7s review is coming soon, after that I won’t be able to do anymore camera reviews for the foreseeable future due to my filming commitments for the next few months. 

Pretons Kanak from a few years ago when we first met filming "Confluence"  That's me in the reflection!

Preston Kanak from a few years ago when we first met filming “Confluence”
That’s me in the reflection!


By Preston Kanak

Earlier this year, NPS Canada & Nikon Canada contracted us to shoot a short film utilizing the new Nikon D810. What we wanted to do with the project was find a way to showcase the capabilities of the camera while also telling a story. For this project, we chose to produce a full campaign that included a short documentary, behind the scenes film as well as a photo series. As for this post, what we want to do is give you a look at how we approached this project. We will be looking at:

We have also talked about the score below which has been the topic of most of the negative conversation for this piece. Feel free to jump ahead to see why we approached it in the way we did.

Like with any campaign, it is imperative that a strategy is developed early on so you have a goal you are working towards. With this project having such a quick turnaround, like is a lot of the time, it was imperative that we had our plan clearly laid out to ensure delivery on time. Our approach with this project was to craft the story before we even started shooting. Before going any further, we must state that we are a new company and as such, we are just talking from our personal experiences and are learning with every project we produce. It is a learning process and we continue to refine our workflow with every project. Below we have attached the final short film we produced for the project. The BTS has also been attached lower in the article. It can be accessed by clicking here.

Importance of developing a detailed proposal

As much as many may not enjoy developing proposals, it is an essential part of the process. For us, we view it as a critical part of the process and the first chance you have at impressing your client on your work ethic and attention to detail.

Proposal Breakdown

When approaching our proposal, we wanted to paint a clear picture of what we wanted to produce. We broke down everything from our story to the characteristics of our lead character. We were looking at shooting a documentary on a fisherman and did not have a candidate secured when developing the proposal so we had to develop a character profile to help explain what we were trying to do. Our strategy with all proposals is to include as much information as possible to help when approaching production. We have included a few screen grabs from the proposal.

Binder Sections

Project Introduction

A legacy is built upon a foundation of passion and perfection that extends far beyond a lifetime. This legacy is carefully refined with every decision that is made. Be it a fishing operation or the refinement of a digital camera, these decisions are what shape an industry.

For this project, our goal is to showcase what the D810 was capable of producing in both still and video formats. A photo series, a 30 second teaser, three minute documentary and BTS video was produced that showcased the capabilities of this camera while focusing on the technical specifications that make this camera unique. This campaign was not only the current customer base but also the general public because of the format of storytelling.

Screenshot 2014-07-03 18.46.46

Story Development

Every Moment Counts is a short that follows the journey of Manny Vaughan who has been fishing for 70 years. This film features his journey of passion and drive through his many years living and breathing on the open sea.

When breaking down the story, there were a lot of things we had to consider. We had a rough idea of the story we wanted to tell that we developed in the pre-production / proposal stage and it was imperative that we hit our key story points. When we started to collect story points, our first goal was to do a sit down interview with our lead character, Manny. This interview went on for about an hour and a half. What was great about it was that it didn’t come across as an interview, rather, a conversation between two people. This was a great approach as we were able to have a real conversation with Manny and we were able to get him to open up.

Regarding story points, the story we really wanted to tell was that of a fisherman who has fished his whole life. He is a character that cares deeply about his family but also about fishing. The major conflict developed in the story was the sea. What we wanted to do was turn the ocean into a character and place it as the antagonist of the story. By doing this, we feel we were able to develop our story points.

Our story opens with Manny talking about the power of the sea and reveals the inciting incident that you must not take the power of the sea for granted. It is a powerful force and it is key to respect it. In the way he delivers the lines, the subtext is that he knows this through personal experience and sets the stage for the rising action and climax that occurs later in the story.

For this piece, we setup the story in a way that first introduces Manny and then goes on to reveal that he has lived a hard life and this is paralleled through his voice – which is rugged, coarse and aged. We felt that this really aided in this idea of growth, experience and age. After establishing who Manny was, we then went on to introduce to the audience about his life and experiences with fishing. We started with some early memories fishing with a safety pin and how when he finally got real hooks, he thought he was ‘big time’. We see through the way that he delivers his story that he truly loves fishing.

Our first plot point or point of conflict is in his description of his fear for the sea. We find out early that even though he has a fear for the sea, fishing overcomes this fear and it is this passion that keeps him coming back. As the story continues, we revisit the idea that the sea is a place to fear and to not overlook this power. He reinforces this power by revealing one of the main reasons he fears the sea. This loss of his friends of sea still haunts him and it was our goal to capture this emotion. We did this by showing him for the first time on camera. As we move closer on his face, we see his eyes wheeling up with tears.

Our resolution to the story revisits his love for fishing to show that no matter how much fear exists, it is the love for the task that keeps bringing him back. His connection with family and friends is his guiding light and is what truly makes him happy. At the end of the day, what we wanted to leave the audience with is a story about the value of family and how activities such as fishing can bring people together. Our focus on the act of fishing and commitment demonstrated through the 70 years truly shows the role passion plays and how it is critical in living a satisfied life.

Click to view slideshow.


Character Breakdown

Our focus is on the small rural fisherman who has been able to do what he loves while still being able to support his family at the same time. Our focus isn’t just about the success of catching fish – it’s about the journey. Work-life balance has always been a challenge but this is normal. A culture breeding a work ethic built on hard-work and long hours has allowed our lead character to continue to build on the family legacy.

When selecting our candidate, it is key we find someone who is nearing retirement but has lived a long and full life. We will target an active fishing community that is struggling to make ends meet with the new regulations being introduced that limit the opportunities for small operations to succeed. We are not making a statement about the industry, rather showing that no matter the obstacles, passion is what keeps these operations running.

Shot on the Nikon D810 Shot on the Nikon D810 Shot on the Nikon D810

Bringing The Proposal To Life

Our goal with this production was to try bring it to life as close to our proposal as possible and we felt the best way to do this was to immerse ourselves in the local culture and spend as much time with the locals as possible. We became regulars at a few places on our trip – from the breakfast joint (Eat Restaurant) to the restaurant at the top of Peggy’s Cove for our double Espresso and Kahlua and a cookie (you had to eat to have a drink and that was the cheapest thing on the menu :)). Immersing yourself in the local landscape is imperative. We would not have been able to accomplish what we did without having made friends with the locals.


Why Collaboration is Important

With any project, finding a strong team is imperative. For this project, we had a great team that helped with the process. From creative to photography to locations, I relied heavily on the help of the entire team. At the end of each day, we would go over rushes and talk about how we could approach the next day better. With all projects, it is key that you make the working environment one where people feel they can give creative input, no matter if they are above or below the line. The one aspect that was a bit unique for us on this project is that we brought in a musician to produce a custom score for the film.

Offering Creative Liberties to Collaborators

Being in a place to offer creative control to various team members is a valuable tool – albeit stressful unless you completely trust these team members. For this project, we brought in Karrnnel Sawitsky. I’ve worked with him on two other projects and felt he would be the perfect fit for this project. When he arrived on location, we already had a locked story edit and were able to give him something to work from. When he arrived on location, we had told him that the temp track that we were using would be tough to beat with the custom score.

 The Music

We talked in depth about our approach for this project and knew the impact the music would have upon the story. We wanted to craft a song that also told it’s own story – one that would accent the visuals we had in place. There were certain spots that I wanted certain emotions to be hit but overall, I left Karrnnel with the creative liberties to go in the direction he felt best.

After hearing the edit and talking with crew members, many liked the vibe of the original temp track that Karrnnel had previously recorded but I felt that going with new track – although riskier – would be the better route to go as it felt right the more I worked with it. Sometimes you just have to go with your gut. Sometimes it works. Sometimes it doesn’t. For me, I feel that the track we chose is perfect.


I think our most challenging part was finding our local talent. It was absolutely amazing how everyone was willing to help without asking for anything in return. People just opened their doors for us and this was really quite amazing! I’m not sure we would have had this experience in too many other places.

Our first major obstacle that we had to overcome was to secure talent and locations. Before landing in Nova Scotia, we had one potential candidate lined up and although he had a great story to tell, it wasn’t quite what we were looking for. We then spent the next four days searching out new talent as well as locations.

Our biggest word of advice for others looking to produce something similar is to immerse yourselves as much in the local culture as possible. Talk with the locals. Make friends. Ask questions. Introduce yourself and most importantly, be friendly and show interest in what they have to say.

How to develop a comprehensive Pre-production strategy

Once you have secured the project and contracts are signed (if you decide to use them), the next plan of action is setting the project into motion. I will generally start by breaking down the key objectives and then move to develop scripts that achieve the core objectives. No matter how large or small a project is, I will also develop a comprehensive strategy. This process is usually fairly straightforward as we generally spend a lot of time crating the proposal so a lot of the heavy lifting is done upfront. Attached is a screen grab of a table of contents that would generally be included with a proposal.


Regarding pre-production, the key things we prepare are the scripts, scouting, schedules and crew / gear breakdowns. Because we will generally breakdown the creative elements in the proposal, we are able to move directly into refining our concepts and prepping the shoot.

We start by assembling a production binder to use for production. We take our proposal and parcel it out into the different areas of production. We make sure we have all releases, NDA’s, travel information or any other pertinent information we may need for the shoot. We also make digital copies that are available to all crew members during production. We still find it handy to have paper copies on set in case any last minute questions come up.

We manage all productions using dropbox teams and have attached a breakdown of the folder structure below.


By having a template folder to work from, and using colour coding of folders, we are able to see what still needs to be done and what has been done. We can assign folders and tasks by dual colour coding folders to show who is doing what. As we start to turn folders green, we then print off the content in the folder and add it to the production binder.

Value of Open Communication with Client

A positive working relationship with clients starts with transparency and open communication. For us, this is extremely critical and something we are always working to improve. If open communication is established early on, the entire process goes much smoother. Gaining the trust of your client also sets up for a good working relationship that goes beyond the project you are working on and potentially leads to more work. Lay out beforehand what can be expected from the production and ensure that clear timelines are established and met. Whether or not there is a hard deadline for a project, set one and lay out all elements of production that need to be completed. We will usually show the client this timeline and provide updates along the way.

Importance of Clear Objectives & Deliverables

The first critical step is the breakdown the deliverables and to set out the clear objectives for the project for both the client as well as your teammates. By having clear objectives, not only do you have something to work towards, but you also have an outline of expectations for the project. For this project, we wanted to produce a documentary, behind the scenes film and photo campaign. All of these assets were to be delivered on July 6th. Because of the tight turnaround, we knew we had to start working on the project as soon as possible as we were set to land in Nova Scotia on June 16th.


For our documentary, we had a concept breakdown developed before landing and had an idea of the key story points. We had the questions prepped before finding our lead and catered, as we needed to ensure we captured the story we needed. We shot the interview on day five and by doing this; we were able to cater our supporting footage based on our locked story edit.


Before landing in Nova Scotia, we already had our intro and our script written and recorded and our music selected for the piece. All we had to do while on location was shoot the interviews and supporting footage.

For this film, we separated the days in which we shot our interviews, as we wanted to shoot the final interviews as close to the delivery date as possible to include a comprehensive coverage of the project. For the crew that wasn’t on location for the entire shoot, we did their interviews first and edited the sound bites right after the interview. For the rest of it, we pushed hard to assemble the edit right after we filmed the interview so we could start putting together a rough assembly as early as possible.


Our other major obstacle was delivery time on assets. We were shooting right up to July 4th so we had to start working with our assets right on location. Without having done the prep before hand, we would have had no chance at finishing before our delivery date. The second we got green lit, we started to prep all assets including the selection of music for the behind the scenes, graphic treatments and other elements. Anything we could start beforehand, we did.

The Edit

With the quick turnaround we had for this project, it was key that we started the edit while on the road. With the long distances between locations, we decided to put the edits together while driving. This was a great way to review footage we just shot and start to see the film take shape. By doing this, we were able to quickly see what we still had left to film and were able to adapt the project as we worked on it.

The Grade

For people curious about what the footage out of the new camera looks like, we have included a side by side comparison with the raw footage beside the graded footage. We added sharpness to the raw image as it is easier to see the gradations in the raw footage. Outside of the sharpness, the footage is untouched.


A reality of a lot of productions is that there isn’t a lot of time from pre to post. This process, depending on the complexity of the shoot, can be very challenging. What we hope we were able to do with this post is help with the process – even if only in a small way. If you have any questions or would like to hear more about any aspect of the process, do not hesitate to ask and we will try include it in the post as well!

If you would like to find out more or hear our thoughts on the camera, make sure to check out our post on the Cinescapes blog.

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New mini doc shot with the Sony FS700, Odyssey 7Q, Sony A6000 and Movi M5 Sat, 19 Jul 2014 14:45:44 +0000 ETHICS STATEMENT: Although this shoot was for Sony and made to promote their cameras, this in no way compromises my impartiality and ethics. They hired me to make a film like any client. I have done work for most of the major camera manufacturers. I still use a huge variety of cameras for my work. The 1DC is still my favourite all rounder, with the Sony A7s and Panasonic GH4 right behind it! :)


Screen Shot 2014-07-30 at 22.46.57

I was asked by Sony to make a film and a behind-the-scenes for a promotion they wanted to do called “Shooting Cinematically.”

Two years or so ago I did a similar campaign for them, Extraordinary, which yielded one of my favourite mini docs “Portrait of a boxer” and also included in depth BTS videos.

They wanted a short film that could connect with the small production company crowd, the event and corporate filmmakers. They also specifically wanted it shot on the FS700 and to highlight its key selling points, 4K and super slow motion. The original plan was also to have the A7s as B-CAMERA. My pitch specifically included the amazing low light power of that camera. Unfortunately, when it came to it there were no cameras in the UK available, as this was back in May, so I substituted A6000 for it at the 11th hour. More on that later.

My idea was to do a mini doc about someone who does something visual, tell their story, and use these features they wanted me highlight in a natural way. I was doing some research on possible subjects. I wanted to also have a section that included lighting, as that is one of the things that is an afterthought for many people, like sound too.

Screen Shot 2014-07-22 at 00.29.33

Screenshot 2014-07-19 15.50.26


Screen Shot 2014-07-26 at 14.55.35


Dean Jorgensen is the husband of a good friend of mine. Whilst I was chatting to her, she vaguely suggested Dean. I asked more about what he does. He works full time as Sky TV as a transmission controller but performs magic every Thursday night in 2 bars in Soho, London. I imagined the things that I could do with this and I pitched the concept to Sony, who loved it.

Shooting Cinematically FN

Shooting Cinematically FN

What is “Shooting Cinematically”?

Much like that other phrase, “film look,” it’s more than one thing and is also incredibly subjective. It’s more than shooting progressive. It’s everything combined. Lighting, composition, movement, controlled depth of field, audio, content, grading. A big part is making things look more expensive than they actually are. After all, I shot a short with a DJI Phantom 2 with a GoPro. Total cost around £1200 and it had a huge reaction. It was down to movement, content, light, grading and structure. 

Shooting cinematically doesn’t mean using an expensive camera, necessarily. With the arrival of cheap cameras with large sensors, this has been more and more achievable. Although a better camera is also preferable!

The FS700 is one of the most powerful cameras on the market for the price. The ergonomics frustrate me, as I have mentioned before, but the features and image really are superb. It can record up to 200FPS over crank in 50hz mode and 240fps in 60hz mode. It can also output 4K to an external recorder if it’s the newer R model or you have had it factory updated like I have mine.


The next step

So I’ve got my character and my story – Dean, the part-time close-up magician. Planning the shoot was the first thing I had to do. I needed to  understand how he performed his magic and figure out what I needed, content-wise, to tell his story in a very short period of time. I also wanted to look around his house to work out where we could shoot the interview and B-roll and to figure out what lighting I might need.

The other question was where we could film Dean performing in public. He told me which bars he performs in, so I was able to check them out and have a look at how well they worked. It would have to be available light, because of the number of people there and not wanting to attract too much attention. Another key consideration was listening to how loud the sound was there. A big part of his performance is his verbal interaction with people, so I had to make sure I would be able to actually hear him!

The Storyboard

Armed with this information, I made the storyboard. It was a loose one, since this is a documentary, and things can change depending on how the shoot goes. What’s more, Dean could surprise me in the interview with something spontaneous that I’d want to capture. This frequently happens when doing things like this. That is why I really recommend doing the interview/ interviews early in the shoot, as you can get valuable clues about what other shots to get. There’s nothing worse than doing an interview right at the end, and learning something wonderful that you’ve got no more time to film.

Screenshot 2014-07-03 18.46.46

The right tool for the right job

My main camera was the Sony FS700 as mentioned earlier. After all, my client was Sony and they wanted to promote it. I think they might have not been super happy had I shot with a RED! With my own FS700 and its Version 3 firmware, I had the ability to output 4K raw and 2K continuous slow motion, although you must have an external recorder for that.

There are two main options. The Sony R5 with interface unit, which I own as I have an F55 and it’s designed for that. I don’t think it’s the best option for the FS700 as it’s too bulky and makes the camera super long. You can see my review of that here.

Shooting Cinematically FN

My 4K recorder of choice is the excellent Convergent Design Odyssey 7Q. I love this recorder as it also doubles as a superb OLED monitor. It’s got two SSDs for recording 4K and the 2K super slow motion. It’s relatively cheap for what it does, although the media costs do add up. Currently it only records in raw for 4K, but ProRes is coming which will save on media costs a lot!


Using the features

Internally, you’re limited to an 8 second buffer for super slow motion. But with the continuous 2K raw setting, that restriction is lifted. There’s no buffer limiting you anymore, but you do need to be careful not to overshoot, as it does use up a lot of data.

The interview with Dean was shot in 4K. I’m a big fan of doing this. Not because the finished film will be 4K – it will be delivered HD. But 4K gives me a huge image, with the wonderful ability to reframe from wide angle to various sizes of tighter shots. I don’t have to make the decision when to be wide or tight optically anymore, and this is a really freeing thing for me.

With a recorded image of 4096×2160 and an edit canvas of 1920×1080, if I shot my master as one shot, I could punch in for a close up with no loss in quality. Below you can see the main image (graded) at 54% of it’s original size and then at 90%. I could have shot a bit closer as the 90% was as close as I wanted my framing to be. Anymore and I would have lost the top of his head. I do that sometimes but I didn’t want it for this.

Shooting Cinematically FN Shooting Cinematically FN Shooting Cinematically FN

One thing to be aware of when doing this is make sure the image is clean. Keep that ISO down and light well. A noisy image when cropped looks even worse. Plus the noise is bigger. Keep it clean, and you will be fine.

What I often do when cropping interviews in 4K is put an adjustment layer above the video tracks and use FilmConvert to add a layer of grain to even it all out. This works a treat. I want the cuts to look seamless, like I had two cameras or changed focal length.pbloom-250x400

Another thing to remember: a crop of an image won’t change the depth of field. This will only happen when changing the frame optically.

One other perk of having the FS700 set to 4K raw is a feature in the Odyssey that converts that signal into a stunning looking HD ProRes HQ, which is better than if you set the camera to HD and just recorded that output. It’s because you are sending a 12-bit signal into the 7Q in 4K raw mode instead of the normal HD 8-bit which is then down-sampled and recorded as the 10 bit ProRes HQ. This extra information that is sent into the recorder give you drastically reduced banding and also an image that is more detailed and clean.

Shooting Cinematically FN Shooting Cinematically FN

High sensitivity cameras doesn’t mean you don’t use lights!

Cameras like the FS700 that perform brilliantly in low light aren’t an excuse not to light. Lighting creates texture and mood to your image. I lit the interview with a single Kino-Flo Diva soft light, using the window as my back light. Even though it was in shot, the extra dynamic range of the raw meant I held most of the detail in the window. You can see blown highlights of the same window on the shots in the same location with the smaller non-raw camera.

Do be sure that light coming from a natural source like a window is continuous. Look to see if the sun is going to stay out or stay behind cloud, otherwise your shot will be drastically affected. The longer your interview, the more chance you have of the light changing. If you plan to do a long interview, I would block natural light sources and be in total control. It’s a shame to lose lovely natural light but essential at times.

Super slow motion

Super slow motion was set to 200fps, the maximum in 25p mode. You need a lot more light than normal, as your shutter speed needs to be at least double your frame rate. The FS700 won’t go to the exact shutter speeds you want, but something like 1/400th or close to it is what you need. You won’t be able to go below 1/200th at 200fps as it’s technically impossible, but also at the speed of shutter you will get too much motion blur. Keep it at least double, well ideally double!

Shooting Cinematically FN

When these shutter speeds go high, domestic lights and low wattage incandescent light sources will interfere and cause nasty flicker. You can get this when shooting at normal speed (well you get strobing not flicker). 1/50th and 1/100th in 50hz countries means you will be fine under most domestic lights (beware of things like TVs which often run at 60hz) In 60hz countries you want to be at 1/60th to 1/120th. Other shutter speeds lower or higher will cause issues.

Professional light sources generally won’t give you these problems – LED Litepanels are great. But if you are using any incandescent lights, make sure they’re high wattage so the filament can heat up enough to stop the issues of flickering. I used a DEDO 150w. This is a low wattage light and risky. A full whack and left on for a few minutes I avoided the flicker. Dim down though and you will get it.

Shooting Cinematically FN Shooting Cinematically FN

The B Camera

Initially, as I mentioned earlier, we were supposed to be using the A7s for the shots in the bar and other B camera shots. When it became clear this was not available, I decided to use my very cheap A6000. Why this over the A7r? I love my A7r especially for stills, but surprisingly the A6000 had a better looking HD image. Since this shoot I have of course picked up an A7S and it’s mind-blowingly good, both in HD image and low light ability. Still the A6000 performed admirably considering its super cheap cost.

My hi-tech solution to fragile mini and micro Hdmi ports on cameras. BLU-TACK! Seriously works a treat!!

My hi-tech solution to fragile mini and micro Hdmi ports on cameras. BLU-TACK! Seriously works a treat!!

When to use the B camera and when to use the A camera

This comes down to many factors, which are different on every shoot. I made the very bold decision to use the B camera for all a large proportion of the filming. All the stuff with Dean’s children, the “apprentice” section too, plus everything at the bar. The FS700 was used for the interview and slow motion only. The reason being that I wanted to use my new Movi 5 :)

philipbloom-721156251180378899_907601 philipbloom-720609474639342492_907601

The Movi M5 is a wonderful piece of kit. Yes it’s not cheap, costing around £3000, but it’s just simply marvelous and can bring massive production value to your shoots. It’s not for everything, and it’s not for every camera. It’s designed for smaller cameras. Their M10 which is more than twice the price is for bigger cameras, but the FS700s, due to its shape, doesn’t go on either. Another reason I chose the B camera for a large chunk of the filming.

This 3 axis brushless gimbal system is a bit like a motorised steadicam in a way, but I find it a lot easier to use. Balancing takes practice, but when it’s set up it’s remarkably intuitive and performs brilliantly, even in the wind. Plus when used in inverted mode (like I did for the most part here) and with the lightweight A6000, I was able to go all night with it, as opposed to using heaving cameras and in normal mode, when I can’t last more than a few minutes!

The downside to this is focus. Yes, some cameras have fairly decent autofocus, especially the Canon C100 and C300 although they have limitations too. The A6000 does have autofocus, but I didn’t actually try it. What I did was set my focus and then move with the subject within my depth of field. Sometimes I kept it really shallow, which was harder. Other times deeper made more sense.

The sequence of Dean travelling on the train and tube was all the A6000 and the Movi. I did film without official permission, but I made sure I did it quickly and didn’t get in people’s way. The shots of Dean walking from the train to the bar added a lot to the production in my opinion. Very “cinematic.”

Really, you need a remote follow focus and a focus puller. James Miller was at the shoot doing BTS with a sound man, Andrew and assistant, Holly. Occasionally I borrowed both of them for a little bit of help. It’s quite hard reaching to change focus when holding the Movi, so Holly helped me sometimes. Have a good monitor on the Movi is also essential for composition, exposure and focus. I used the wonderful Atomos Ninja Blade, as it also doubled as an external recorder recording in ProRes 422. Much better than the internal recording of the A6000 which is AVCHD.

Shooting Cinematically FN

Using the Atomos Ninja Blade to record the A6000 clean output in ProRes 422 and also using it as an excellent monitor. You can see the essential waveform bottom right of the screen

It was tough in the very dark bar. The camera was pushed to 3200 ISO which is a stretch for the A6000. The FS700 would have eaten it up – in fact it did, as James shot the BTS with that camera and he could see way more than me!

Shooting Cinematically FN

Movi M5 in inverted mode

Shooting Cinematically FN

Using a variable ND to control the exposure and depth of field

Shooting Cinematically FN
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Holly reaching round to give me helping hand with my focus


This is so important, I cannot stress it enough. Without great sound, this whole film would have failed. I needed to hear Dean performing and of course the interview had to have perfect sound and the same on the “Apprentice” scene.

I used Sony’s UWP D wireless mic for most of the audio, Dean wore it (hidden of course!) as did Zack. I actually recorded it dual system sound using my Roland R26 for when I shot with the B-camera. I used a Rode Video Mic Pro as reference plugged into the Ninja Blade, as the A6000 has no mic input or headphone jack. This was simply synced with Pluraleyes in post.

For the sit down interview, I used my Sanken Cos 11 wired mic. I don’t use wireless mics for sit downs unless they are so wide I can see the cable. Saves on batteries, and of course wireless mics occasionally get interference.

Andrew, James’ sound man, also did some of the recording in the bar as backup, but thankfully the wireless mic picked most of it up fine, even in the really noisy places. It’s worth recording a minute of atmosphere audio in each location to underlay and even out the audio in post.

Shooting Cinematically FN

How pre-production makes your life easier and the edit

The film was storyboarded, and I pretty much stuck to it. I had key sequences to shoot:

The interview

Dean playing with his daughter

The scene with his son

Travelling to London

Performing magic

Screenshot 2014-07-19 14.06.07

One of the key objectives that would make the film was the “apprentice” scene. Where Dean’s son Zack teaches him a trick. I wanted to intercut this with the actual performance of the trick in the bar. Knowing this was how it would play out in the edit, I had to make sure I got all the shots and sync I needed for this. I got Dean and Zack to repeat this sequence for me from 4 angles. They were patient, and it paid off. Shooting all from the same angle would have been visually dull, especially as I would be cutting fast back and forth between this and the corresponding moments in the bar.

Getting the right shots in the bar both visually and with the audio was challenging, and I filmed about 6 or 7 performances of this. Shooting it all on the Movi made it ten times harder, but in the end it worked. Although frankly, I could easily have gotten away without using it, as I hate unmotivated movement and people sitting at table is pretty unmotivated. What I used it for was perfect stable handheld!

It took a while in the bar until I was happy, but I knew exactly how much I needed, as I was piecing it together in my head as we went along. Everyone in the bar signed releases by the way. For anything commercial like this, it’s essential.
Screenshot 2014-07-19 12.01.47


The edit was pretty straightforward due to my planning. As you can see above, there were lots of layers both of audio and video. The audio of the travelling to the bar was all foley in post from It simply sounded better than the real thing!


The tricky part was the colour grade. I used my usual FilmConvert of course, and it really added to this. For the bar scenes, there was a fair bit of break up and banding in the image, as it was high ISO and probably not the most ideal picture profile. Try not to shoot too flat in low light conditions, as you will have the same issues with 8 bit video. What I did was use Super 16mm grain, which softened the image and hid the image issues. For the daytime and the rest I used Academy 35mm grain.

The sequence with Dean’s daughter Lois I made it look more nostalgic with some milky blacks and vibrant but over saturated colours. There is nothing wrong with mixing styles colour-wise, especially if it makes sense for the sequence.

Screenshot 2014-07-19 12.10.25 Screenshot 2014-07-19 12.11.07 Screenshot 2014-07-19 12.11.37

I did use a fair amount of media as you can see below. The Odyssey 7Q, as it only does raw, currently eats up 500gb for 24 minutes of 25p in 4K. That’s a lot. The super slow motion in 2K also adds up (You can only do continuous slow motion in 2K mode)

That’s my biggest caveat with recording 4K with this camera. Once we get ProRes, it will be way more practical. Until then, be aware of how much data you will use. I kept the interview fairly brief because of this, which isn’t ideal, but I wanted the 4K for varying the frame.

Oh, one other thing. I am using the new Really Right Stuff  sticks with FH350 head. Both pricey but very nice. Worth it over my usual Millers? They are different. I love the modularity, how parts break off to mount sliders etc.

All in all, I am happy with the end result. A lot is packed into 4 minutes. The film isn’t about magic really, it’s about Dean. Magic is the framing device. Dean is the content. Is it cinematic? I think so. You may disagree, but that is what opinions are for. Everything is subjective.

Check out the behind the scenes videos by James on the Sony site or below. 



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The no longer evolving review of the Sony A7s now with extreme low light video. Thu, 03 Jul 2014 18:16:55 +0000 If you use any photos/ Screen grabs elsewhere, please credit Thank you!

Please read my ethics statement here


Perfect light before our night-time filming

Perfect light before our night-time filming

With my GH4 review only just out, I am already started on my next one, the Sony A7s. As always, it’s an evolving one. Don’t expect the actual video review soon. I like to know the camera really well before I put them out, but I have been doing some filming already. The GH4 is still bloody awesome. This camera has a different killer feature…I do wish there was a camera that all of these killer features on one! The closest is probably my 1DC!

Before I get onto that, what exactly is so special about this camera? I am extremely choosy about which cameras I review. I have to be interested in them to put the huge amount of time and effort it takes to make them. If I have no interest in a camera, then I simply won’t make a review. They are occasionally subsidized by a dealer, never the company who makes them due to my ethics (this one CVP are subsidizing) but even then they’re 90% self funded. I am not sure they could stomach the actual cost of all the time I put into making them! :)

Philip Bloom A7s V2 1


This camera is a low light monster. That is the feature that is killer. It also has amazing looking 4K, but not internally unfortunately. It has a micro hdmi port that outputs uncompressed 3840×2160 422 8 bit video (yes not 10 bit like the GH4).

It’s also full frame. I adore full frame. That’s a sensor FOUR time bigger than the one of the GH4 (although the GH4 can get to S35 with a standard MFT Metabones Speedbooster) That’s a huge difference of course. Although full frame has it’s downsides as well as upsides. Wides are easier to get on full frame, long shots? Harder!!

This is the third in the new Sony Alpha A7 line after the A7 and A7R. Both full frame stills cameras with nice HD video. I reviewed them here. The HD was nice, just not brilliant. Image issues were still present.

The A7s has a much smaller megapixel count than the other two, meaning it can soak up light a lot better, combined with excellent processing behind it. It has a 12.2MP sensor, the A7 24.7MP and the A7r a monstrous 36.4MP.


I love my A7r for stills and use it a lot, but almost never for video. In fact, the Sony A6000 has better HD video than it, but stills wise…

With this massively reduced MP count, you do reduce the size of the stills drastically. They are still big enough for most purposes, but your cropping ability is severely reduced from the A7R of course.

Sony seem to have really focused on creating the best stills camera video function possible. What is in this camera puts many much more expensive video cameras to shame.

We have a much improved codec over the old AVCHD codec: XAVC-s, the baby brother of the wonderful XAVC on my monster of a camera, the Sony F55. It’s 50Mbps and 4:2:0 8 bit. It’s very efficient, so it performs a lot better than you would expect for 50mbps.

It has S-Log and S-gamut. S-Log, though, works with a minimum ISO of 3200, which is problematic in daylight. It’s apparently where the camera performs best with its dynamic range. Personally, I would sacrifice a bit of that to drop it down by 3 or 4 stops. That’s why I use the Cine profiles, which are also very flat but let me shoot as low as ISO 100. I can still have S-Gamut colour though.

The only way I can currently record 4K. Incredibly cumbersome but at least I can see some 4K!

The only way I can currently record 4K. Incredibly cumbersome but at least I can see some 4K!

The 4K output is gorgeous. I managed to record some by sending the HDMI 2.0 signal into my Blackmagic Ultrastudio 4K box, which then goes via thunderbolt into my MacBook Pro Retina. Using media express software, I can capture live into different formats. I captured some ProRes LT 4k in my back garden just as a quick and dirty test. The garden super messy, as I had just replaced the shed and all its contents were in view, as they weren’t taken away by the rubbish clearance men until about an hour ago! But still all stuff to shoot!


So far I have only shot in the UHD mode. No HD, no slow motion. There is a lot to go through, and I need to make sur

You can download the 7gb clips from wetransfer here, or if you can’t cope with 4K ProRes LT you can pointlessly watch the compressed to hell streaming version. This is fine for normal watching but not for pixel peeping. Vimeo compressed the 7GB 4K file down to 78mb with a surprisingly low bitrate of around 3.6Mbps. Normally it’s a bit higher than that.

The GH4 has a killer feature that this lacks. Internal 4K recording. I love internal 4K recording. I put up with external recorders because I have to. I don’t mind them as much if they double as a great monitor like the Odyssey 7Q and forthcoming Atomos Shogun, but sometimes I don’t want to use a monitor. I want to stay small. I wish the A7s had the option to record a lower quality 4K version like the actually rather good Sony AX100, but it doesn’t. There is simply no way it can cope inside that body with the heat. As it is, when in 4K mode, it does get warm to the touch! That’s the problem with not redesigning the body to cope with it but just using the A7 shell.IMG_1633 copy

Screenshot 2014-07-03 18.32.37


Sony A7s 4K quick test for download purposes. Cine gamma 2/ S-Log 2 from Philip Bloom Reviews & Tutorials on Vimeo.

The very first test I did was of course low light. I did that almost a week ago. I filmed myself lighting up a cigar. I don’t actually smoke that much at all and never in my house but I wanted to see the room light up with the match and it did indeed. Below are frames from video in HD of 80,000 ISO!

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The video of this will feature in my actually video review.

Last night myself and James Miller went down to Brighton for a change to test out the low light again. We both couldn’t wait for the UK release of the camera and picked them up from DigitalRev. I made sure that they were world cameras. Apparently there are some which are region locked. The one is the US are definitely region locked, so only 24p, 30p. Not 25p. No use to me. Be careful when ordering if you need a world camera.

I brought the camera down, 5 batteries (it’s really quite hungry battery wise, especially compared to the GH4, but not Blackmagic hungry!), my Sigma ART 35mm and 50mm F1.4, 70-200mm Canon IS II and my Canon 24-70 L II. Tripod was the Really Right Stuf FH-350, which is really lovely. More on that in an updated post.

James through the stunning Small HD High Brite monitor. Yes, this is Brighton again for the Miller Tripods shoot last week!

James through the stunning Small HD High Brite monitor. Yes, this is Brighton again for the Miller Tripods shoot last week!

I don’t like the rear screen of the camera, the EVF is much better, though not really practical for tripod work as it’s fixed. I am using the Small HD DP7 PRO High Bright monitor these days, and it’s a stunner. I can see the screen perfectly in direct bright sunshine. No good for my low light test, as it would light the beach up! Instead I brought the DP4. It’s ageing now but still nice. A bit chunky as an EVF but works great. I love the ability to flip open and have a nice decent little monitor. Whereas my Zacuto EVF, which is great, is too small to use like that. Great through the Z-Finder though.

Something very special I took with me was my new special edition “Burl Wood” Kessler Crane Pocket Dolly. Super Pimpin’! Really quite nice! I got some lovely shots with it indeedy!! :)

Screenshot 2014-07-03 18.46.46

Processed with VSCOcam with 4 preset

Some people ask why shoot such high ISOs. What is the point? Well there are many many creative reasons. Yes, I can’t see me wanting to shoot night for day very often (!) but what I would like to do is shoot in low light situations with a deep depth of field. Not always be at F1.4!

The danger of course with high ISOs shot to make things really bright is when you see any lights in frame. These will blow out a lot. That was why there was no point going to London to shoot high ISOs. I could have stopped down for that deep depth of field, but I wanted to see what I could actually see with this camera when pushed.

To get an idea of just how much the street lights looked when exposing for some of these shots look at this frame here. Hence I pointed away from the street most of the time, only when it wasn’t pitch black 1 hour past sunset could I get bits of the promenade in frame.


It was incredibly dark out there so even though I could see everything way better than my eyesight could some of the shots with dark area in them were just too noisy not to fix. I used the ever marvellous Neat Video to get these results.

As mentioned at the top of this post, if you do use any of these grabs/ photos elsewhere please credit “Courtesy of PhilipBloom.Net”. Thanks!


EDIT: Monday July 7th

Yep. Ridiculous but I had to try this out as the rolling shutter issues are redcuced in the A7s crop mode.

Speedbooster is of course designed to make smaller sensors look and perform like larger sensors. The E mount mount is for cameras like the FS100 / FS700 and of course any of the APS-c Mirrorless cameras. It’s a terrific bit of kit.

I show a comparison between detail and rolling shutter in full frame mode, crop mode and speedbooster in crop mode. It’s crazy that I am even doing this but I had to and the results are impressive. The size of the noise though is enlarged in crop mode.

This won’t work in 4K output mode as the sensor is sampled 1:1

Feel free to download plus and pro members but if you use any of it please credit “Courtesy of”

Recorded on an Atomos Ninja Blade in 422. The download is also Prores 422

Shot with a Canon 35mm F2

Brighton.Still020 Brighton.Still019 Brighton.Still018 Brighton.Still017

Yep. Scares me too.

Yep. Scares me too.


James shooting with his A7s


Honestly I don’t actually smoke much at all! Normally 1 little cigar a week if that!!


Rough grade. Shot at 1030pm. 1 hour after sunset. Cannot remember ISO!


The Sony mirrorless camera review…within a review…within a review…. from Philip Bloom Reviews & Tutorials on Vimeo.

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NOW WITH VIDEO REVIEW! The no longer evolving GH4 review! Mon, 30 Jun 2014 06:34:41 +0000
Screenshot 2014-05-10 01.43.29

Processed with VSCOcam with a4 preset


UPDATE: 30th June 2014

Do make sure you read the rest of the post not just the video review that I have finally put up! Was it worth the wait? Only you can decide. I don’t cover everything. There is too much for a video review. As it is it’s almost 40 minutes long.

There is loads of info lower down in this post plus do check out Camera Labs excellent thorough written review and EOS HD’s E-book. 

Below my review is Dave Dugdale’s excellent (and longer!) video review. He covers loads of stuff, more than me! It’s always worth checking out other people’s opinions. Never trust just one. ESPECIALLY MINE!!

First up is the latest in my series of “4K postcards.” All the rest are shot on the 1DC. This is my first GH4 one and unlikely to be my last. Go to the Vimeo site plus and pro users as you can download a HEAVILY compressed 4K MP4 of it for personal use only please, no re-uploading either. Thanks!

Also any donations to the Vimeo tip jar on the review page is gratefully received. These take weeks of work and are self funded. I have only done one other review this year because of the amount of time it takes and fitting it in. If this was useful please show your thanks via the tip jar or via any of the affiliate links if you want to buy the camera. It won’t cost you a penny more but helps these reviews continue! THANKS!


4K: Postcard from Phang Nga from Philip Bloom: Four Corners on Vimeo.

Filmed on the Panasonic GH4

Shot on my holiday at the same time as my DJI Phantom/ GoPro film “Koh Yao Noi”

Music by Tony Anderson “A long way out” from The Music Bed

Graded with FilmConvert 10% off wide code bloom at and James Miller’s Custom LUTs

Glass used:


SIGMA (ART) with Metabones Cinema Camera Speedbooster for Nikon mount

18-35mm F1.8
35mm F1.4





Thailand edit.Still003 Thailand parts 1 & 2.Still003


This is an evolving review where I will be adding bits to it as I go along. It’s a bit messier this way as I have to edit stuff if my opinion changes. The other way is to wait a few weeks until I am all done and the video review goes live! I think it’s better this way! :)

You will see the edits as they will be dated within the body of the post in BOLD RED.

Screenshot 2014-05-10 01.43.29

ETHICS STATEMENT: This review has been made possible by the sponsorship of Holdan UK, Ltd. Distributors of many products and brands including Zeiss, Blackmagic, Teradek and Panasonic. They have been instrumental in making this happen when other avenues of getting hold of camera to review proved fruitless. They initially provided me with the brief loan of one of the only GH4s in Europe at that time whilst we were both at NAB in Las Vegas last month. They have provided the GH4 for this review and although they are financially subsidising part of the costs in making this, it still remains an entirely independent, unbiased review, the same as all my other camera reviews.  

This review is in no way affiliated to Panasonic and any views or opinions expressed within the review are mine entirely.

Never base a purchase, especially a substantial one like this, on one person’s opinions. Read many, watch many and try before you buy if you can. If you decide to purchase the camera and you are in the UK, please do so through a UK official dealer so you have a valid UK warranty. If you are not UK based, the camera is available through my B&H Photo Store and Amazon Store affiliate stores. Any purchases through these links cost you nothing more but do help to keep this site running, and I am very grateful for your support. Thank you!  Please read my ethics statement here for more on this and for other site sponsors and affiliates.


The Gh4

The Gh4

Update 17th May 2014: By James Miller


Normally I would steer clear of in camera effects that burn in adjustments because in other cameras this was never a good idea and would result in image deterioration. But this does not seem to be the way with the GH4. Have a look at the short video below shot with screen overlays via the Atomos Ninja Blade for an idea of the results.

I wanted to see what in camera colour profiling would be like on the GH4. For this test I put the Luminance Level to 16-235 opposed to the higher 16-255. Mostly because I want a simple path of handing on files to production without wording about Luminance clipping.

Starting at Cinelike V I reduced the sharpness to -5 to take the edge away from the USM style in camera sharpening. I also but the Noise Reduction to -5 to remove the plastic mush that can occur in the images. I set the Saturation to -5 and +1 on Hue for personal preference.

Next I pushed up the Master Pedestal Level to +15 the factory is 0.
I then brought up the i.Resolution to ‘Standard’. This helps reduce the noise a tiny bit, trade off is slight.

Finally I set the i.Dynamic to ‘Standard’ too. This will really lift the image. On exterior daylight shooting I have set to high with great results.

If you treat the image to be colour graded you can reduce the blacks and mid tones done a little for taste. Its a much cleaner way then pulling up in post. May be handy for some situations, but its not a substitute for light and camera gain. Think of it more to enhance the image, bringing it closer to what your eye sees.

Once you grade your image any noise increase in the shadows will fall away giving slightly for dynamic range.

This is a graded version of a 4K 24p shot from my hotel room in Seoul. Download various versions of this in different settings to see how it handles. Click below to go the WeTransfer

This is a graded version of a 4K 24p shot from my hotel room in Seoul. Download various versions of this in different settings to see how it handles. Click below to go the WeTransfer

Screenshot 2014-05-21 17.21.41

11th MAY 2014: These are just my initial thoughts. I have not used most of the camera or shot with it in anywhere near enough different environments to form a solid opinion. All I can do for now is share with you what I have found and what I like and dislike so far!

A lot of people interested in this camera will be new to the GH series, so this post is not just a review but also an introduction to the system. 

Whilst Panasonic Pro Video division have barely done a thing since the release of the AF100, their consumer division have not sat still. With every generation of the GH series of cameras they have improved the camera. Each new release is a new generation, whereas other companies release new models with incremental improvements.

The GH1 was groundbreaking at the time of its release, a mirror-less, interchangeable-lens stills camera that shot full HD video and with full manual control. It had an EVF, a flip-out screen and working/ quite usable autofocus (If you are that way inclined!)

It had flaws for sure and was terrible in low light. It was pretty innovative and I actually got this camera before I got a Canon 5DmkII. Only by a few weeks, but it was still first (well technically the Nikon D90 was my first stills camera that shot HD video, but that camera wasn’t that great!).



With my first Panasonic GH camera…yes I won’t go back to that look!!


Shooting with the GH1 in Joshua Tree

Shooting the a pre-release GH2 at the Movember Gala 3 and a bit years ago

Shooting with a pre-release GH2 at the Movember Gala 3 and a bit years ago


On set of GH3 launch film Genesis with director Bruce Logan on the left

The GH2 improved upon the GH1 in many areas. The thing that really made both the GH1 and GH2 better was the firmware hacks that gave us much better bitrates. The one for the GH2 especially turned that camera into an amazingly detailed imaging device. It didn’t improve the sensitivity, but it got past the AVCHD limitations and showed us what could be possible.


I shot the launch film for the GH3 back in August 2012 for Panasonic, Bruce Logan directed. It was a very early model and barely worked when we used it, but I got to see what had been added. Mostly they gave it better bitrates, an All-I codec, a bit more control over the image and about a stop more useable sensitivity. Mostly though, it gave us an official version of the hacked GH2 but with added aliasing, which was disappointing. It was probably the least groundbreaking in some ways, because of that. I felt it was a disappointment….although if there hadn’t been the GH2 hack I am sure I would have felt differently.


The GH4 though is really something quite different indeed. What it can do now compared with the GH3 is pretty substantial. Based purely on specs, this camera has the potential to become the number one low-budget filmmaker camera…but that’s on specs. The reality is often different, but let’s just see what those specs are:

    • 16.05 Megapixel Micro 4/3 Sensor
    • 4096 x 2160 up to 24fps (100Mbps)
    • 3840 x 2160 up to 30fps (100Mbps)
    • 1080p up to 60fps
    • Variable Slow Motion in-camera up to 96fps (not a sync-sound format)
    • 200 Mbps (ALL-Intra) or 100 Mbps (IPB) at 1080p
    • 4:2:2 10-bit or 8-bit External HDMI (4:2:0 8-bit internal)
    • Cinegamma Modes
    • Peaking and Zebras
    • Many more professional video features including curve adjustment, timecode and much more



There is a add on unit that costs more than the camera, the “DMW-YAGH interface unit”. It’s a bit of an ugly bugger, truth be told, but it is unique and adds some impressive specs to the camera.

    • 2 Monaural XLR Inputs
    • Line/Mic Level Switch
    • Audio Level Display Monitor
    • 3G-SDI Capable BNC Connectors
    • Quad-Link SDI Output for 4:2:2/10-Bit 4K
    • HDMI Output
    • Timecode In
    • 12VDC 4-Pin XLR Power Inputgh4 1

Naturally, the headline feature of the GH4 is coincidentally tied in with the model number, 4K. Internal 4K too. There are not a lot of large-sensor cameras around that shoot 4K internally. If we go with this price bracket, the only one that comes close is the Blackmagic 4K. Next closest, which is a guess as no official price has been announced, is the camera that wowed many ay NAB, the Sony A7s. Tis is an impressively specced camera with gorgeous footage coming from it so far….BUT there is no internal recording of 4K – it just outputs it, so you need a 4K HDMI recorder. So there we go. This camera is pretty unique. The only other one (which has a 1inch sensor) is the Sony AX100 handy cam. The AX100 actually quite nice but has a small sensor and other issues. I have one at the moment, and ideally would like to review it…a mini review at least. After all, I don’t want to commit to all these reviews as I struggle with time. I didn’t do a video review of the Blackmagic 4K for a different reason: my initial thoughts post nailed it. There was nothing more to add. 

My initial thoughts on this camera were that it looked very similar to the GH3 in appearance. If felt solid without being heavy and thankfully not too plasticky.  Looking at the connections, I saw the mini HDMI has been replaced by micro HDMI. I don’t like either to be honest, it’s a shame for sure.


It’s when you go into the menus that suddenly you see all the changes. There are so many options that you almost want to get the manual out and read about them…don’t be silly! Blokes don’t read manuals! :)

Just with record modes we have .mov, mp4 and AVCHD. It doesn’t make a huge amount of difference whether you choose .mov or mp4, as they are just containers. The contents remain the same. There are some caveats to that, which I will touch on later.


To get full 4K 4096×2160 mode we have to be in “24.00hz Cinema) mode in the system frequency setting. If you select 59.94hz or 50.00hz then you won’t get the full 4K, you get “4K UHD” which is 3840×2160. There is nothing really wrong with that. UHD (Ultra high definition) is 16:9 ratio which of course is what we want for broadcast. I don’t know how many of you who shoot for broadcast HD shoot 2K…not many! All the “4K” TVs are UHD. So as I said, not a big deal.

When it comes to HD we have a plethora of options:

Full HD All-I with a MASSIVE 200MB/S bit rate recording as 50p/60p or 24/ 25p/ 30p

Full HD IPB mode at 100MB/S recording as 50p/ 60p or 24/ 25p/ 30p

Full HD IPB mope at 50mb/s recording at 50p/ 60p or 24/ 25p/ 30p

In fact, the massive 200mb/s bitrate for full hd makes the 4K bitrate of 100mb/s seem paltry.

It really is terrific to have PROPER video assist functions like focus peaking, zebras, waveforms. These are immeasurably helpful.

The ability to tweak the image is also very impressive. The profile that I and most people have been using is Cinelike-D. I have additionally turned down the contrast for an even flatter image and the sharpness to -5. This isn’t “off”. There is no off mode but, it’s as little in-camera sharpening as possible. The camera is very sharp in 4K mode especially, which tends to make things too “video.” Detailed is good. Sharp is not. 35mm film is detailed for example, but it’s not “sharp”. I haven’t messed around with noise reduction yet. You can also change the gamma curve. This is fantastic to have in a camera like this!





Mounted in my car with the Sigma 18-35mm F1.8

Mounted in my car with the Sigma 18-35mm F1.8

I took the camera out with me the day I got it to do a little bit of filming. Using a couple of suction mounts and only touching and repositioning the camera when I was pulled over, I filmed various shots with angles, all in the UHD mode. I did shoot in Cinelike D mode, but I think I may have altered the gamma curve a little!

My truck is a diesel so it vibrates a lot. This wasn’t great for the camera, as it does suffer from rolling shutter, and the vibrations caused lots of issues. Most CMOS cameras would have had the same problem, to be fair.

I used the following lenses in this test.

Sigma 18-35mm F1.8 Nikon mount with Metabones Speedbooster
Voigtlander 17.5mm and 25mm F0.95
Lumix 7-14mm F4
Lumix 12-35mm F2.8 OIS



So far I have only shot in the UHD mode. No HD, no slow motion. There is a lot to go through, and I need to make sure I am thorough for my video review as usual!

From what I have been told by my fiend and business partner, the HD mode, whilst not as detailed as the 4K mode, is still pretty damn good. Naturally, I will test this for the video review and for this post.

One thing I was very keen to test out was how well it did with the Speedbooster. Metabones have created an incredible product with this (You can read all about  it here.) For micro four thirds (MFT), they have a standard one for the GH cameras, an optimised one for the MFT Blackmagic Cinema Camera and one especially for the pocket camera. They do magic, as far as I am concerned! They give the camera a pseudo larger sensor by focusing all the light from a large lens onto a smaller sensor, and that means the image is brighter and you get a much wider field of view. The light gain on the Pocket Camera with the special speedbooster is about 1 and 2/3rds stops and gives it an amazing field of view improvement from around 3x crop to 1.75x crop. This is amazing.

The one thing they have not managed to do yet for MFT is make one for Canon EF glass. They have for the Sony e-mount, just not for MFT yet.

bh gh4

The speedboosters I used for MFT cameras are all Nikon mount, not Canon EF. So what is the issue in making one to work with Canon glass?  All I can imagine is that the protocol for getting the MFT cameras to send power and also communicate with the adaptor must be causing them a problem. Perhaps because they are trying to make one for all the MFT cameras, and that is where the issue is? I don’t know. For now through, you have to live without it.

There are copies on Ebay which say Canon/ MFT speed boosters, but these are completely passive. No electronics, which means not much Canon-made glass will work other than the Cinema glass. Only lenses with a manual aperture will work, and there are not many of those! Samyang / Rokinon are the only Canon EF mount lenses I have that would work here. So don’t be fooled. Read the description. If it says no electronics, give it a miss!

There are a 3 options as far as I know that let you have iris control (well, two to be strict) with Canon lenses on MFT cameras. You sort of do with the one from Kipon, as it gives you a secondary iris. It sort of works, but it’s not quite the same. The depth of field isn’t right, there is darkening of the image vignette style at times. It’s better than nothing and won’t of course power IS and it won’t work on some Canon glass, like the 85mm F1.2 which need power to even do manual focus.


Image courtesy of EOSHD.COM


Image courtesy of EOSHD.COM

Screenshot 2014-05-13 16.44.08

Redrock Micro Live lens

The adaptors which do work are the Redrock Micro live lens, quite old now. It works, but the lens mount is not very solid and it doesn’t support some of the lenses or IS. It costs around $600.

The very good but expensive and somewhat cumbersome MTF services one called the Effect. This is around £1100. So not cheap. Both of these use external boxes.

MTF services "Effect" Controller

MTF services “Effect” Controller

Speedbooster really helps for cameras that are sensitivity-challenged. Blackmagic cameras especially, but even the GH4 isn’t that great in low light. Compared to the Blackmagic 4K it’s way better, but I wouldn’t  go upto 1600 ISO unless I absolutely had to. But giving us a stop more light is a huge help. The other big plus are the few options for wide angle lenses. Being able to use the Tokina 11-16mm F2.8 (my favourite affordable wide angle lens for non full-frame cameras). Especially if you shoot in 4k or UHD mode, as it’s cropped.

To avoid moire and aliasing for the 4K mode, they have sampled the sensor 1×1. Now you may think “how can that be?” 4K for a 16:9 sensor is 8MP. This sensor is 16MP but it’s not 16:9, it’s 4:3. As you can see below from the graphic from EOSHD, the usual MFT crop of 2x would result in an image too big, so rather than find a way to reduce the image size they simply cropped it even more. 2.3x crop in full 4K mode. Even more so in UHD. That’s actually a similar crop to the Blackmagic Cinema Camera.

Screenshot 2014-05-12 23.58.58

Image Courtesy of EOSHD.COM


To get to HD they have to reduce the number of lines, they can’t sample 1:1 for that. I don’t know what image issues come from this. James Miller tells me he can see edge softness and noise grain, I need to check this out myself.

As you can see, we lose some of the frame as we move to UHD and full 4K, which is slightly wider but still not as complete a field of view as the HD mode.  

So, going back to the Speedbooster, knowing the crop is around 2.3x using the BMCC 2.5K one, you not only get a hell of a lot more light coming in but the field of view is greatly increased, as you can see from my comparison below. The 3rd image from the Cinema Camera Speedbooster is much wider and much brighter. These were all taken at exactly the same camera settings.

Normally the MFT speedbooster would give us a stop more light and a field of view akin to Super 35mm, but as we are not using the whole sensor, so this is less. I haven’t measured the FOV or the F-stop increase but it’s not 1 stop of super 35mm. With the Blackmagic 2.5k cinema camera one, though, we are getting a field of view of around 1.3x crop of full frame. This is pretty much the same as the 1DC crop in 4K video mode. That’s pretty impressive.




A word of warning though is that the Blackmagic one sits closer into the body than the standard one. This WILL interfere with the mechanical shutter…just. To avoid this, set the camera to electronic shutter only. This means the mechanical shutter won’t descend and you will be fine. That’s actually a cool point. With the electronic shutter you have a totally silent stills camera. Great for stealth shooting! I wish my Sony A7R had the same mode. It’s the noisiest shutter I have ever heard!

Processed with VSCOcam with a3 preset

The Speedboosters. As you can see the Blackmagic camera one different has a thingy sticking out! AVOID the pocket camera one. It’s worse and focuses the light onto too small an area.

SPEEDBOOSTERS V2Could you use the camera without the Speedbooster? Of course. I have lots of wonderful Micro Four Thirds lenses. Most of them are manual but I have some Lumix ones that will let you use autofocus and support optical image stabilisation. In the photo below, I have a mixture of MFT glass and Nikon mount glass. From left to right on each line we have the Voigtlander 17.5mm F0.95,  Voigtlander 58mm F1.4 Nikon mount, 100-300 Lumix with OIS, Voigtlander 25mm F0.95, the truly excellent as essential lumix lens 12-25mm F2.8 with OIS, another amazing lens is the SLR Magic 12mm F1.2, Lumix 7-14mm F4 and the bottom pic is my favourite zoom, the 18-35mm F1.4 from Sigma. Even though that lens is designed for crop sensors it doesn’t vignette on the BMCC 2.5k Speedbooster.

Philip Bloom-715897056059238853_907601





Let’s take a look at the detail of the 4K image now. Below is a frame of me from the video earlier in this post. Each of the images below is downloadable and 3840×2160 in size. They are sampled from a UHD timeline in Premiere where I simply zoomed in for each one. The first one is 100%, the 200%, then 400%, then 800%. That’s a hell of a crop in, way smaller than 4K and HD but then left on the 4K timeline. It does show you how much detail the camera is capturing.









This sort of ability to crop in terrific. Especially if you master in HD. The flexibility it offers you is astounding. Just don’t use it to be lazy. To show you the power of cropping in 4K this linked post shows just what is achievable. It was shot in 4K on the 1DC but as you can see above the detail on the GH4 is pretty good. I will be testing this out in comparison with my other 4K cameras, 1DC, F55, Blackmagic, Sony AX100, FS700…maybe even my 4K smart phone! :)

One last thing for now, which is really impressive feature wise, is the ability to record a 10 bit signal out of the micro HDMI in 422, not just 8 bit which is the norm. This is a massive deal, and very few cameras let you do this, certainly no DSLRs not even the 1DC…in fact my C300 doesn’t either. The difference between 8 bit and 10 bit huge. Using external recorders when you have highly compressed in-camera modes like AVCHD at 24mb/s. Devices like the Atomos Ninja Blade are excellent for recording in ProRes or DNXHD, but if the camera can only output 8 bit, even though ProRes is 10 bit, you still record 8 bits of data. The image will band just as easily in ProRes HQ at 220mb/s as it will in 24mb/s. When you go to 10 bit, you get 4 times as many levels of colour for each RGB channel. To not have banding issues is huge, but it will require you to use an external recorder, using the camera only, not the YAGH interface. Apparently the camera also outputs 10 bit 422 in 4K mode. I have no way of testing this as my only 4K capable external recorder the 7Q does not accept it, and I have been told by Convergent Design that it will require the YAGH unit for 4K recording. That’s a real shame. Let’s see what the Atomos Shogun can do with it.


A little caveat, when you set it to output 10 bit: you cannot record internally, it’s disabled. 8 bit no problem. Interestingly, to get both my Convergent Design 7Q and Atomos Ninja Blade to get the output I had to set the camera to AVCHD mode. I have no idea why. This isn’t ideal, as it will output the image in a 50i or 60i stream depending on your record frequency. It just adds another post step. It is worth it though to get that 10 bit. This does seem a bit odd, I will investigate!

Philip Bloom-716742749481118163_907601

Convergent Design Odyssey 7Q

Oh and despite a nice EVF I have stuck a Zacuto Z-Finder on the screen. I don’t like touch screens, to be honest, as I am WAY too greasy and you can control everything with the plethora of buttons on the camera. The EVF is fine, just nowhere near as good as my A7R which is exceptional. The rear LCD is now twice as dense pixel-wise as the GH3, which means when you put on a 2.5x z-finder it’s wondrous! The only annoying thing is it’s hard to put a sticky frame on it, even though they make them. It has a raised part on the left hand side of the frame which makes sticking it on problematic. James Miller (again) carved a bit out of his Pocket Camera Z-Finder frame so it’s flush. I would recommend the normal Z-Finder though (junior or pro) simply because the pocket camera one is too big for the screen and sits a bit out and makes it not possible to flip the screen around 180 degrees. Zacuto do make their gorilla frame that screws onto their base plate, but I don’t like that as it means two base plates (my tripod plate goes under that), and the ability to flip out the screen at all it gone when it’s mounted.


Making sure the Z-Finder sticky frame adhesive takes to the rear screen of the GH4. A little pressure on it via some manfrotto clamps for a day. The frame comes off it you don’t want it on anymore with a little pressure.


EDIT 14th May 2014: We all love slow motion, and whilst we won’t get any out of the 4K mode, in 1080p mode we can get up to 96fps over crank. Now, it’s not perfect. The image takes a hit in this mode as moire/ aliasing pop up. I have seen a little moire in normal speed HD but none in 4K, as it samples 1:1. Still, both the FS700, F5 and F55 suffer some moire and aliasing in their high speed modes.

It’s also definitely softer. You can sharpen it up post, to a degree. Despite that, it is lovely to have full HD 96fps in this camera. I am not sure why 96fps has been chosen, well obviously it’s because of this obsession with Panasonic that 24p is THE filmmaking frame rate. Well it’s not, especially with the internet and for most people using these types of cameras not for cinema but for cinematic look. Most of the world are actually 50hz, so giving us 100fps to would make a lot of sense.

I popped out just after initially publishing this review to grab a few 96fps shots down by the Riverside in Richmond as it was a lovely evening. Unfortunately nobody was down there! Weird. So as I was getting a few shots of the lovely sunset some geese and ducks came over to me demanding to be shot in slow motion on the new GH4, especially if I was using a speedbooster and that Sigma!

All handheld/ resting on my man bag. Glass: Lumix 12-35mm F2.8 with OIS and a Nikon mount Sigma 18-35mm  F1.8 with the Metabones Speedbooster for the Blackmagic Cinema Camera.

Make sure you check out James Miller’s “lens whacking” piece shot at 96fps after this!

Moire visible on the water in normal speed HD mode.

Moire just visible on the water in normal speed HD mode. Click on image for closer look.

Crop of normal speed HD image to show the moire on the water

Crop of normal speed HD image to show the moire on the water

Very bad moire on the water in 96fps full HD mode.

Very bad moire on the water in 96fps full HD mode.

 That’s it for now. So far? Really impressed. This is a groundbreaking camera. 4K internally is a big deal, and the fact it looks this good is terrific. Yes the bit rate is a bit low at 100 mb/s but it means you can edit this a lot easier, and if you need higher than you need to get an external recorder. Of course almost everyone reading this doesn’t actual need 4K, but with the 4K being so clean and detailed, the creative uses on a 1080p timeline are huge..PLUS scaling down the 4K image to HD yields a superior 1080p image. It may be slightly cropped compared to normal HD mode but that’s why you get a speedbooster. The MFT mount is so flexible for lens adaptors, just like the Sony E-mount…that is apart from if you want to use Canon glass!

I am excited by this camera. It’s small, is packed with astonishing features, gives me a terrific image, and is bloody cheap. I need to do a lot more testing before giving my “Should I buy it” sort of opinion, not that I am ever black and white like that, but so far the biggest issues are the low light performance and the usual rolling shutter issues. Those issues aside, from my experience with it the past 5 days, I can see this camera potentially becoming THE next big thing for low budget filmmakers…maybe! It is also truly 4K for the masses, as the file sizes are not monstrous and can be edited a lot easier than any other 4K I have used. The HD is good, it just looks kinda average when compared next to the 4K of the camera. It’s not surprising, as once you shoot 4K everything else looks not as good!

There is still much to try out and learn with this camera, but that will be featured in my video review. I am going to be in Thailand next week, so it will be a great place to shoot some stuff and really see if the camera lives up to first impressions!

Screenshot 2014-05-13 18.58.59SPEEDBOOSTERS V2SPEEDBOOSTERS V2

The GH4 on the excellent Movi M5. More on this in the video review

The GH4 on the excellent Movi M5. More on this in the video review

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Canon EF to BMPCC Active Metabones Speed Booster!! Sat, 21 Jun 2014 11:43:03 +0000 PB_BH_Banner_03

Written by James Miller

Joining the two passive (Nikon G and Leica R) Speed Booster adapters for the Blackmagic Pocket Cinema Camera is the long awaited Canon EF to BMPCC Active Speed Booster. Priced at USD659 it should be available by the end of June from Metabones.


This really is great news for the $995 Blackmagic Pocket Cinema Camera. Being able to use Canon optically stabilised lenses is a delight and I might actually use this camera now.

I know the first thing you may want to try if you have a Panasonic GH4 to hand is putting the EF-BMPCC Speed Booster onto it, don’t. The EF-BMPCC Active Speed Booster should only use with BMPCC. This model is customised to use with BMPCC camera, so it may cause damage of the adapter or the other cameras. It’s not designed to cover the full MFT image circle, but only covers the smaller S16 of the BMPCC.

To prevent anyone from using the BMPCC Speed Booster on the GH4. The GH4 will display “Lens attachment failed. Please make sure the lens is attached correctly”. There is also an etched a warning “For use only with BMPCC” on the BMPCC Speed Booster housing.

Fear not, I’m sure Metabones are actively working on a GH4 version of the EF – Active Speed Booster.

Here is a few test clips using the Canon EF 70-200L II F2.8 IS on the Canon EF – BMPCC Active Speed Booster. Shot in Brighton for a change!



Metabones Canon EF to BMPCC Active Speed Booster from James Miller on Vimeo.


The new 0.58x EF-BMPCC Active Speed Booster reduces the crop factor of the BMPCC from 2.88x to 1.75x, and produces the largest aperture optics currently available, with a maximum output aperture of f/0.74.  For example, a 50mm f/1.2 now becomes a 29mm f/0.74 (i.e, by using 50mm lens, the actual focal length in BMPCC is 29mm x 3.02 = 87.58mm), and the Sigma 18-35mm f/1.8 becomes the world’s fastest zoom lens at 10.5-20.3mm f/1.0 with stunningly sharp performance. (i.e, by using 18-35mm lens, the actual focal length in BMPCC is from (10.5mm x 3.02 = 31.71mm) to (20.3mm x 3.02 = 61.31mm).

Aperture effects on your EF Canon lenses by using the EF-BMPCC Active Speed Booster.

a) EF 85/1.2L attached, camera display = f/1.2, physical aperture  (lens + Speed Booster combined) = f/0.74.b) Sigma 18-35/1.8 attached, camera display = f/1.0, physical aperture (lens + Speed Booster combined) = f/1.0.

Whats very handy is the tripod foot is detachable and compatible with Arca Swiss plates. It pops straight on the Kessler Kwik Release System. Great for light weight shooting.


Using with EF-S lenses. The EF-S mount has the same 44mm flange distance as the EF-mount, but the rear of the lens is allowed to protrude a few mm further into the mount aperture and possibly hitting the optics of the Speed Booster. You may be able to mount some EF-S lenses by removing the protective ring protruding from the rear of the EF-S lens.

Speedbooster_EF_640_010 Speedbooster_EF_640_008 Speedbooster_EF_640_007 Speedbooster_EF_640_006 Speedbooster_EF_640_005 Speedbooster_EF_640_004 Speedbooster_EF_640_003 Speedbooster_EF_640_002 Speedbooster_EF_640_001


A few words, well pics from me (Philip) This is excellent to have and I can’t wait until they bring out one for the GH4. I have used this on the GH4 (pre-production) and it kinda works, naturally not sharp edge to edge. Best one I have used for the 4K mode on that camera is the Cinema Camera Speedbooster. The one to use for caution and to use the mechanical shutter is the standard speed booster This is the one they will bring out in EF mount, soon i hope, for the GH4. 

This is a simple field of view and exposure comparison between a simple flange adaptor, normal MFT Speedbooster (Nikon mount), Cinema Camera Speedbooster (Nikon Mount) and Pocket Camera EF speed booster. Lens in Voigtlander 58mm at F4. ISO 400. Raw graded simply in Lightroom. As you can see the brightness and field of view difference clearly. The pocket camera speed booster, whilst expensive, is essential for users of this camera. A big reason is using IS lenses is now possible with the speed booster. The Nikon one is passive. With a camera like this with rolling shutter issues handheld on anything other than Lumix lens with OIS is a bit crap. Now it’s more than possible. Plus we have a much larger field of view and a nice big gain in field of view. A simply essential purchase!

Flange adaptor

Flange adaptor

MFT Speedbooster

MFT Speedbooster

Cinema Camera Speedbooster

Cinema Camera Speedbooster

Pocket Camera Speedbooster

Pocket Camera Speedbooster

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Shooting a film with the Phantom 2 and GoPro in Thailand. From Pre to shoot all the way through to post and uploading! Fri, 06 Jun 2014 13:45:37 +0000 PB_BH_Banner_04




Koh Yao Noi from Philip Bloom on Vimeo.

So here we are…a delayed part 3 of my Phantom blog post series. Although this is listed as 3 of 3, I doubt it will be the last time I write about it.

Initially this was to be just a video review, and it is all shot, but then it felt out of date to me, and as it was all shot on location in the USA, it was hard to make it work without being messy. I may come back to it at some point…

So part 3 has become a long-ish term look/ look back to see if much has changed from my first post and also a look at my first proper aerial film since the two I did in Arizona/ Nevada and the first with a goal/ idea in mind rather than just the usual! After all I am incredibly new to this. I flew (and crashed) my first Phantom in February and didn’t film anything really until April.

Filming with the GH4 and Phantom 2 in Thailand

I did a little talking thingy for Canon about the 1DC and C300 at a big expo in Seoul, Korea a fortnight ago.. It’s a long way to go for a day’s work, so I before I left I decided to make the most of being in South East Asia and take a “break” after the job. I have always wanted to go to Thailand, and despite still being 5 and a half hours away, it felt like the perfect opportunity to finally go.

Me being me, the main reason to go was not to sit on a beach soaking up the rays. I wanted to shoot! I love to film, whenever I can. It’s my passion as well as my job. It relaxes me, it makes me happy, it’s my protective blanket, my escape. It’s many things to me. When I haven’t filmed anything for a couple of days I get itchy and there only one way to scratch that itch! :)

Normally I bring my Canon 1DC to places like that, but I had recently picked up the GH4, and this was a perfect opportunity to shoot with the new little beast, see what it was capable of and give me lots of lovely footage for my upcoming video review (I will finish this one!) PLUS of course there was the Phantom. How could I not bring the Phantom?

My shooting gear for Thailand!

My shooting gear for Thailand!

So alongside all my normal camera gear, I brought two Phantom 2 quadcopters with GoPro Hero 3+. No Vision 2+, just the normal Phantom 2.

I love a lot about the Vision 2+. It’s a brilliant quad to learn with, it’s what I used…but the camera is just a let down. I wish it had a camera to match the lovely, simple and solid FPV set up through the phone, but it doesn’t. We will have to wait until the next generation. In the meantime the GoPro 3 especially the Hero 3+ is a cracker of a little camera though. Especially in the 2.7k mode which shoots 24p or 25p which is only available on the 3+.


Whilst we are talking about the 2.7K mode, deciding which one to shoot in is up to you. Many like shooting 50p or 60p as it makes smoother footage I am told. Many of the modes are simply crops of the other ones, so you aren’t gaining much. When I shot the film in Thailand, I was mostly set to wide on the 2.7K, but I also had it at medium occasionally. You can also buy replacement lenses which aren’t quite as wide. I do have one but have never fitted it!

Other settings…for me I always shoot “Protune” flat, which is the professional recording mode for colour grading. It definitely gives you the best dynamic range, but the grading can be tricky as the btirate isn’t high and a flat image always needs work. I cover this more in the post section further down.

Personally I always set the camera to ISO 400 max, as the camera sucks when it goes higher. I turn off auto white balance and set it to what is appropriate where I am filming. Other stuff like exposure compensation is up to you and your shot. You can’t have the wifi on when flying the Phantom, as it can interfere with the radio, so you cannot change settings whilst in the air. A shame, but you can’t have it all!

Of the Phantom’s I brought, one was new and has a 2 axis zenmuse gimbal on it with the FPV (first person view video downlink so you can see what the go pro is seeing) system comprising of a Boscam TX and a Black Pearl Monitor RX. It also has an iosd device for the telemetry which is essential!

As FPV systems go, this one is not bad. I have yet to find anything that matches the loveliness of the vision 2+ system. Lightbridge from DJI could be the solution, but that is expensive and I have yet to see one.

The other one is my original one which did have an FPV on it, but it wasn’t working so I took it off. You can use them without, just don’t go crazy and keep it pretty close AND keep an eye on that battery level on the Phantom…that is SO important!

Apart from knowing where you are, the biggest plus of an FPV system is that pretty essential ability to compose your shots properly, not just have those big wides!

Both Phantoms had the old 2 axis gimbal on them, but I brought the new Zen Muse H3-3D with me to swap it over. In fact a couple of days in, I did put the 3 axis on the Phantom that didn’t have the FPV set up. I chose that one, as the one with the FPV is such a professional build and neatly done. I didn’t want to mess it up. It’s not a big deal swapping gimbals but still, I just wanted to be super cautious.

The only problem with the Phantom I swapped gimbals on was that it was an older one and there isn’t a big enough hole for the 3rd axis. Newer Phantom 2 models have a larger hole to accommodate it. You can buy adaptor plates which also come with longer legs (which will make it a tight fit in some cases) but I didn’t have the adaptor. What I did have was a Leatherman! So I performed open heart surgery on it and made the hole bigger! Worked fine! Just be very careful as the USB port leads are exposed beneath where you need to cut!


I carried the Phantoms, well I transported them to be more accurate, in two backpacks I picked up on from a UK company called “First Person View”….I then packed these two into a suitcase. I used to use a big Pelican style case, but that’s massive and can only take one. These backpacks are nice and compact and as you can see from the picture below, you can squeeze a lot in. Yes, that’s a lot of batteries, but if you want to film/ fly for most of the day and with each one lasting around 20 minutes, you need them!

You have to take the props off the Phantoms really when carrying them, but that’s not a big deal for such a neat solution.


I chose to stay on a very under developed island, one of the handful that are left in Thailand. I wanted to shoot real Thailand and that can be hard to find. Koh Yao Noi was the perfect place. Close to many other places to shoot (which I did with the GH4) but the island itself had lots of little places to discover, with about only 18km of roads (but lots of off road places) and only a handful of hotels.This was a place with a lot more locals than tourists. Much nicer for me filming wise!

My loaded down ATV that I used to zip around the island

I actually didn’t plan to shoot a whole piece with the Phantom. Instead I wanted to use it like I use any other filming tool, be it a slider, Movi, jib etc. The Phantom was to be used for key shots, well that was the plan anyway!

The reason I say this is because on the 4th day I visited, for the second time, a little village out on the water. I had been there a couple of days early, but I only shot with the GH4. I thought at the time that later in the day the pier would look amazing when I filmed it on the phantom. Below is the pier in all it’s subtle HDR iPhone glory!

When I took my Phantom there on my second visit, it all just came together. Half an hour earlier a local on a moped saw me flying and came over to ask what it was. We talked for a bit, I filmed him driving down the road, he loved it. When I got to the village he was there too, it was where he lived. The locals were already really friendly, but this helped even more.

The first shot I did was a long sweep through the village skirting over where the water would be if the tide was in. I showed what I was doing to the locals and they were fascinated, even more so when I took the Phantom up high to do a top down shot!

At this point the children of the village had swarmed around me. They were incredibly excited at this flying thing and I couldn’t go anywhere without them being stuck to me!  I really wanted to capture them running up and down the pier in their excitement so I put on the prop guards onto the Phantom with the FPV to be extra cautious. Whilst I feel I am doing OK as a pilot, I am nowhere near perfect. Even then things can go wrong and whilst the blades are plastic they can still hurt, with the prop guards on you are much safer. The downside is they get into the shot…a lot!! At least I had my 3 axis Phantom without FPV ready to do shots which I needed to be wider!

When I got all these lovely shots of the children, I knew I had a standalone film. I had shot a lot that day, but this was the stuff that took it from a montage to a film with a journey and I feel a heart!

IMG_0494 IMG_0502

For me, films with a human element are by far my favourite type to make. That’s why I love making my mini docs. It was great to be able to film something entirely with the Phantom 2 and have a human element!

When you watch the film, near the bottom of this post you will see a variety of shots. Lots over water, which in itself is a testament to my increase in confidence flying it…but that’s not all, confidence-wise. There are a number of shots which go through things, skim under stuff, between trees. Lots of them! I loved the challenge of getting these, and with care, precise control and especially line of visual sight, I pulled them all off without crashing once! The line of sight really is key. It’s all very good looking at your monitor but aiming your phantom with the object you want it to go through like a target with your eye will give you a much better chance of pulling the shots off! I did a number of these backwards to. It’s essentially the same thing, and there is something really cool about revealing the obstacle rather than seeing it come towards you. A mixture of both works well really.

There are a couple of shots going down the road in the main village on the island. Don’t worry, I didn’t fly it down there. I simply turned the Phantom on BUT didn’t start the motor. I just held it and used it a bit like a Movi as I drove my ATV. It worked pretty well!

I did have some problems with the footage though. Not all of it, just occasionally. Jello. The dreaded rolling shutter jello. I hadn’t experienced this on the Phantom 2 before, so I was surprised. I hadn’t gone through much of my footage each day, as I didn’t really have time. I should have, as I would then have seen the problem. It was after the village and the children that I saw it, and going back through my previous footage, I saw it pop up in various shots too.

There are a number of reasons why. Motors set too strong in the software, blades slightly damaged, wrong rubber dampers. Lots of things to try and go through to eliminate it. Unfortunately, as I said it was only after the fact that I saw it. Not just on the 3 axis Phantom 2 but on the 2 axis one. The 2 axis one was new, and this was the first time I had flown it. Foolish not to check it first of course.

So with this problem, there was only one thing I could do. I couldn’t re-shoot, it was FIX IT IN POST time! :)

Before I go onto the post section of this er…post, I wanted to just say a little bit more about the whole experience of shooting/ flying. It really is incredibly fun and quite addictive, although kind of hard to use where I live in London!

It’s obvious, but if you put the hours in, the results are worth it. Anyone can grab a Phantom 2 and zip it up in the air, make it zoom along really fast and then bring it back down. The skill is control and getting the composition of your shots right. After all, how many of you when you get a camera, stick a wide angle on it, hit record and then run around for 20 minutes without looking at what you are shooting? EXACTLY!!

Learning fine control is key. Take it out into the middle of nowhere. Learn how to land exactly where you want to. Learn how to make it circle an object. Create subtle jib like shots. Not everything has to be a big sweeping motion, although they are very cool! What makes the Phantom 2 and other multi rotor systems amazing is the freedom they give you. You just need to be aware that there is a learning curve, and you must be aware of the safety aspects, and of course the legal aspects. There is a whole blog post about it here, but remember the legal stuff is different in every country. Some countries like Spain, Austria and South Africa for example, have banned the use of “drones” as they call them, both commercially and for fun.

I am flying just for fun and to create stuff like this for myself. I may well get certified at some point, but I really have no urge to fly anything bigger. I am just having fun, and with the GoPro 4 expected out soon and with 4K, I am pretty happy sticking with the little Phantom 2 (and future ones!). It’s possible this may change, but the thought of even putting my GH4 on a multi rotor scares the crap out of me. These things do crash, no matter how good you are and losing a GoPro sucks. Losing a GH4 and a nice lens would suck a lot more. In fact I know someone who crashed an Octocopter with an Epic on it into a salt lake. That would suck big time!


Screen Shot 2014-04-19 at 01.25.59



I hate editing, and I love editing. I love seeing it come together. I hate how much time it can suck out of your life. When you have to fix something in post that requires a lot of work, it’s a massive pain in the arse. I would rather be out filming that inside!

On that note, I would rather be sitting on my sofa vegged out watching a film right now, as I have been editing all day. Hence this bit won’t be long. Just a few bits to help you along and to show what I did.

To fix the jello, I used Warp Stabilize in Adobe Premiere CC. It really was a case of trial and error to find the best settings. You can’t make it perfect, but you can do your best! I hate that warping effect that is so easy to get. For the most part, I used the “position” method. Below is an example of one of the settings.

Screenshot 2014-06-06 21.58.58

I did transcode everything to ProRes LT out of the MP4, even though I am editing on a Mac Pro. It does make things easier, and Premiere still isn’t fully optimised for the MacPro.

The aspect ratio of the film is 2.35: 1, as is frequently used by me. I just like the look of it. There are a number of ways to edit this way. I normally just place a mask on the top video layer and shift the video within it up and down to adjust my headroom/ composition.

To remove the fish-eye/ wide angle of the GoPro, there are a few ways to do it. I have tried the GoPro software and Magic Bullet looks gives you a quick and simple fix. The one I use gives me the best results and that is “Optics Compensation” within After Effects, and it’s super easy to do.

Just right click the clip you want to fix in Premiere and select “replace with After Effects composition” you then drop the effect onto the clip, select “Reverse Lens Distortion” and adjust the “Field Of View” to a setting that works best for you. Depending on the severity of the barrel distortion, on average I set it to around 70.

Screenshot 2014-06-06 20.20.15
Screenshot 2014-06-06 20.20.52 Screenshot 2014-06-06 20.21.14 Screenshot 2014-06-06 20.21.35



For the colour I used my usual two culprits. Magic Bullet Colorista II for colour correction and then FilmConvert for the grade.

Colorista II evens out my exposure and white balance between shots plus brings my highlights back or lifts my shadows. It’s very powerful, but I am using it just to make all the shots match. You can get it and other Red Giant products listed above for 10% off with the code bloom10. Click the banner above or here to zip over there. I love this plugin, and It’s been my main colour tool for many years now. I am not a pro colourist. I don’t really know how to use Davinci Resolve, nor is it really needed here. For me, working within my NLE makes a lot of sense for the way I work!

Screenshot 2014-06-06 21.59.18

I truly love FilmConvert. If you follow my work you, will have noticed. It’s a gorgeous plug in (or standalone app) that really can make your footage look way more organic. We aren’t talking Instagram here. We are talking proper film stock emulation from 8mm to full frame 35mm. The stocks are very accurate, but what really makes this stand out, apart from the ease of use, is all the presets to make your life easier. Grading Blackmagic shot in film mode is a breeze with the presets, and they have just released loads more covering the GH4, Digital Bolex, F55 and more. There is a preset for the GoPro of course, and this is a very handy thing indeed!


Screenshot 2014-06-06 21.54.36 Screenshot 2014-06-06 21.54.57

I always tweak my settings though, never sticking to the preset. It’s there as a starting block. Use it that way. Experiment, and you can easily get some fantastic results. 

For this edit, I did spend a long time grading it. As I mentioned earlier, the Protune setting, whilst flat, is delicate. With the skies being quite cloudy when I shot this film and sun peeping through, the dynamic range was challenging. I was able to pull a lot back but, the footage can so easily fall apart. Gentle massaging was needed.

Screenshot 2014-06-06 21.58.25 Screenshot 2014-06-06 21.57.09

One thing that did help if stuff started to band too much was the grain setting in film convert. It effectively dithers the areas to hide it. Try to keep the grain percentage low though, as little goes a long way. Also, when it comes to exporting, it makes it much harder to compress. I always upload to Vimeo in ProRes Proxy now, to hold onto that grain. Even though Vimeo transcodes at 5 Mbps, if I upload in 30 Mbps or higher like ProRes Proxy’s 50 Mbps, the grain is held remarkably well online!

If you want to get FilmConvert, below is a discount code for you giving you 10% off!


I wanted to talk about one last thing before I went, and that is music. Music is SO important to me and to my films. It took me almost a day to find the perfect track for this film. I must have listened to almost the whole Music Bed library (the site I use most of the time). I knew what I wanted, I just didn’t know what it was! :)

The track needed to have a journey like the film, something that would match. I needed it to be around 5 minutes long, and for the change in tempo/ feel to occur roughly halfway through. When I found Gatlin Elms’ “For We Never Knew Your Beauty” I knew this was it. It’s a light bulb moment. You can spend hours even days at an edit and it simply doesn’t work. When the right track comes along it all clicks into place.

What I especially loved about this track was the interesting sounds within it that I could make use of. If you watch carefully, see how they fit the pictures. For example, when I skirt too close to comfort over a fishing boat’s rope, I timed it with the track as it sounded like a string instrument like a violin being scraped, or when i go under the wooden structure as each strut is revealed I time the edit to hit the reveal on each strong note within a particular part of the track.

It’s this sort of stuff that is worth making the effort over. Sound is so important. I would normally use natural sounds in things like this (not that were recorded at the time obviously as the Phantom is damn noisy) and although I did use a little at the beginning and end I made the music my sound.

The temptation to just use any track under the images can be tempting, but finding the right one and making it fit really can make a difference!


Anyway, that’s enough waffling from me. I need to go chill now. It’s much later than I had hoped to finished this. The post just became a bit of a monster. Hopefully there is stuff in here that can be of help. If you have any questions then you can ask them in the comments below!

Thanks and enjoy my film. I am really proud of it.


Koh Yao Noi from Philip Bloom on Vimeo.

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London, Manchester, Birmingham…free gear expo and talks with me and others! Thu, 05 Jun 2014 16:51:24 +0000  


Following on from October’s tour of Belfast, Leeds and London the TV-BAY free tour is BACK! This time London, Manchester and Birmingham from this Monday!

I will be giving a new and improved version of my “To 4K or to not 4K” in the morning as well as two small workshops in the afternoon! All FREE! You just need to register.

The official description of my talk:

With the affordable Panasonic GH4 and to an extent the Sony AX100 4k for the masses is becoming a reality whether we need it or not! Philip will share his three years of experience of shotting 4k from the RED Epic through to the GH4. Can your work actually benefit from these cameras or is it being forced upon us before HD’s true potential has been realised?

For the costs involved to the creative possibilites this seminar will be essential for anyone whether they are about to jump onto it or are just curious about the next evolution in video cameras.

I hope to see as many of you there as possible! It was a lot of fun last year and you can’t knock a free show and free talks! :)



Speaking at all venues will be Philip BloomLarry Jordan and, just signed to Hollywood, VFX specialist HaZ Dulull. At Manchester and Birmingham will be the storm chasing extreme cameraman Alister Chapman fresh from his storm chasing trip this week in the USA.


In London we welcome Bela MolnarMatt Cook and Stuart Ashton who will be discussing hot topics surrounding video and the music industry.. More on the SEMINARS HERE!




  • Blackmagic URSA and complete cinema camera range
  • Preview the Atomos Shogun
  • See the brand new JVC GY-HM850
  • Hitachi’s Z-HD6000 – never seen in the UK before
  • First time in Europe – the Libec Allex


Plus many more from world leading manufacturers and a chance to ask the experts anything you may have wanted to ask before!


For in depth information check out the TOUR GUIDE.


Blackmagic Design

Blackmagic Design


Blackmagic has grown rapidly to become one of the world’s leading innovators and manufacturers of creative video technology. And that’s because our philosophy is refreshing and simple – to help true creativity blossom. Blackmagic Design’s founders have had a long history in post-production editing and engineering. With extensive experiences in high-end telecine, film and post, harnessed with a real passion for perfection, Blackmagic set out to change the industry forever.
On Tour you will see…
  • Ursa (First UK Showing!!!)
  • Studio Camera HD
  • 4K Production Camera
  • Pocket Cinema Camera
  • Atem Production Studio 4K





The Panasonic broadcast and professional AV range offers some of the industrys best-performing products. Their AVC-Intra codec complies with the MPEG-4 AVC/H.264 international standard, based on advanced motion-image compression technology. This offers broadcast professionals both superb image quality and high compression using an intra-frame compression system.

On Tour you can expect to see these from Panasonic…

  • GH4
  • PX-270
  • AC90
  • HE60


Sony Broadcast

Sony Broadcast


Represented by H Preston there will be lots to see as you would expect from Sony. Among the kit on show you will get a chance to take a close look at these…

  • NEX-EA50EH
  • NEX-FS700RH
  • HXR-NX3E
  • PMW-300K1
  • PMW-200
  • Alpha 7R
  • DSC-RX10
  • Sony Radio mics

Plus lots more…





Atomos will showcase world leading production tools….
  • The new Ninja Star – now shipping
  • Ninja Blade, Samurai Blade, Ninja-2 and Ronin (all currently shipping products)
  • Preview of Shogun – coming September 2014





This tour provides an ideal opportunity for JVC to take its new GY-HM850 ENG camcorder and GY-HM890 studio camera – each with built-in WiFi and FTP capabilities – out on the road.
Alongside these new models, JVC will be showcasing its full range of professional camcorders, including the powerful GY-HM650 camcorder, also featuring live HD streaming, and the GY-HM70, a cost-effective camcorder for event videographers. There will also be a selection of  professional production monitors on show.





Gearhouse Broadcast UK are renowned as a market leader in television broadcast services and specialise in the provision of Broadcast Equipment Rental, Broadcast Equipment Sales, Project Solutions and Systems Integration. The Company offers a vast degree of broadcast experience and a proven track record in the delivery of broadcast solutions at major world sports events.

Kit on show at The Tour in June will include

  • Hitachi Z-HD6000 Camera Channel – this will be the first time that this camera is being show in the UK
  • Lawo V_Pro8
  • Ross Crossover Vision Mixer
  • Sony PMW-500 XDcam Camcorder
  • Fujinon HA23x 7.6BERD-S6 Lens
  • Fujinon HA14x 4.5BERD-S6 Lens


A.C. Entertainment Technologies

A.C. Entertainment Technologies


A.C. Entertainment Technologies Ltd. (AC-ET) are one of the UK’s largest suppliers of lighting fixtures, accessories and consumables to the world of image capture.

Their portfolio of leading brands includes:

Chroma Q – Single and remote phosphor LED based softlights with a comprehensive range of accessories, designed for studio and location use.
Mole-Richardson - LED based hard sources from one of Hollywood’s oldest and most established manufacturers of studio lighting.
Prolights – LED Fresnels, Profiles and effects lights.

Additionally, AC-ET can provide a full range of services to facilitate studio design, specification and installation.

Their two UK offices include onsite cable & gel manufacturing facilities, and a large stock inventory.





Portaprompt founded in 1976 developed the world’s first digital teleprompter which won a technical Emmy. They have a very busy hire service working on many UK household name TV Shows and Events. Their global sales operation also provides prompting solutions from Tablet Prompting to fully integrated Broadcast Newsroom Operations. Their products include have been designed with input from operators, customers and presenters which has resulted in high quality equipment and software which is straightforward to use.

Portaprompt will be showing a selection of products from is range of innovative TV and Conferencing Prompting solutions including its 350 Series affordable tablet and phone based system and from its high end, high brightness range a 15” Quasar system




STREAMSTAR is a company offering technology solutions and products for the streaming industry. Dedicated to innovation STREAMSTAR delivers professional tools for the new generation of media producers. More details to come soon.




Cinematography lenses from Carl Zeiss have helped to create distinctive images in many famous movies, e.g. Lord of the Rings, and have already received three Technical Academy Awards. Camera lenses from Carl Zeiss are also used by millions of photographers all over the world: in SLR or rangefinder cameras, in Sony compact cameras or in Nokia smartphones.

On show will be a selection of CP.2′s, 28-80 & 70-200 Cinema Zooms and a variety of SLR lenses for you to take a look at.


Audio Developments Ltd

Audio Developments Ltd


Audio Developments; is home to the world famous PORTABLE MIXER range of equipment. Various models in the range of mixers and ancillary devises will be on display, offering various sound solutions to the TV, drama and film location audio professional.
The AD071 Camera Mixer is packed with features and has various applications such as DSLR sound. It has an extremely small size (13.5×9.5×4.5cm) and weighs in at only 420gm.
The AD256 Mixer, with its comprehensive features, will be on display along with a DEBUT unit incorporating a DIGITAL RECORDER.


The Guild of Television Cameramen - GTC

The Guild of Television Cameramen – GTC


The Guild of Television Cameramen is an independent, international organisation that cares about TV camerawork. Our members are professional cameramen and camerawomen who operate in all areas of broadcasting.

Come and see them on the Tour where they will be able to answer quesitons and advise further about the GTC




Libec is a global brand from Japan that offers effective camera support equipment that quickly responds to technologicaladvances and the changing image industry. Our main lineup of the Libec series has been tripods and heads forprofessional video cameras. Currently, it’s main lineup also includes pedestals, jib-arms, electronically-controlled remoteheads and remote controls. Libec’s products are sold in over 60 countries, and has achieved a high reputation worldwide.


Soho Editors, Digital Garage and HP

Soho Editors, Digital Garage and HP


Soho Editors, Digital Garage and HP will be at the Manchester venue only for the June 14 Tour.

The Soho Editors training centres in both London and Manchester enjoy authorised status conferred by Apple, Adobe, AVID etc. This not only makes Soho Editors the leading authorised pro apps trainer in Europe, but also the smartest, most cost-effective and most convenient choice for all your training requirements too. Be that editing, special effects creation, colour correction 3D, design, DTP, animation, web production, app design, audio and more, if you need to learn it, we can teach it. Put simply, we are the specialists in putting you at the top of your creative game. In fact, we actually guarantee it.





Teradek manufacturers groundbreaking wireless video devices for remote video capture, live ENG backhaul, real-time monitoring, proxy recording and webcasting. For complex wireless workflows, Teradek’s cloud-based workflow management platform provides a powerful option for remotely managing a fleet of Teradek encoders in real-time from anywhere in the world.

On Tour you’ll get to see the Bolt Pro and also the Vidiu.





Visit us at the BECTU stand at the tv-bay Tour for a friendly chat and find out more about the different ways BECTU can help your career.





Cirro Lite provide a comprehensive service for those looking for lighting for film, television, video production and still photography where special lighting effects or a controllable precision light source is required.
In addition to lighting products for film, television, video lighting equipment, Cirro Lite also offer a lighting design service including web studio design and audio visual lighting design as well as lighting equipment for hire, supporting production companies from a large rental stock for the UK market.

*Cirrolite will only be in Birmingham for this Tour.





In addition to distributing the Ianiro brand of lighting products, Ianiro International is the sole UK distributor for Visio Lighting, Libec tripod and camera support equipment, Kupo Grip, which includes lighting stands, booms, clamps and accessories. They also carry the full range of CROXS waterproof equipment cases. Recent additions to our range of distributed product include LCD Monitors and Batteries.
At the Tour, for the first time in Europe, we will be featuring the Libec ALLEX combined tripod and slider system.


Global Distribution

Global Distribution


Global Distribution is a value-added, specialist distributor with a wealth of knowledge and experience in providing storage and infrastructure solutions for data-intensive computing environments within the audio/video, broadcast, CCTV, high-performance (HPC) markets as well as the wider IT industry and ever-growing Apple creative space.

Dedicated to delivering the best new storage products and solutions to these markets, along with proactive support and development that is second to none, Global work very closely with all of their vendors, partners and resellers to meet the growing storage demands of users and businesses within these markets.


H Preston

H Preston


Serving the global professional and broadcast video market. H Preston offer competitive prices on a wide range of video and audio products and supply major broadcast and cable companies throughout the world.

H Preston will represent Sony with a vast array of new cameras and products for visitors to get their hands on with expert advice freely flowing.




Holdan is a distributor of cutting-edge technology and complete workflow solutions for the pro video, broadcast and AV market. Production switchers, vision mixers, tapeless workflows, video editing software and HP workstations are all available.




Europasat are pleased to be exhibiting again at the tv-bay Tour. Whilst we pride ourselves in being the UK’s largest supplier of the EutelSat NewsSpotter Broadcast Services, we have been improving our infrastructure for both the delivery and handoff of traffic via London Telehouse North and London BT Tower with our partners Auriga. The benefit is we can deliver off internet as a private network to several international and local broadcasters.

This tim eon Tour you’ll get to see the atest revision of thier Flyaway Kits plus a Dawson AutoPointing Antenna purchased in qty by the BBC.




The ITTP are a group of working TV professionals whose aim is to encourage and assist communication between training institutions and media companies so that high quality training can be developed. With these new standards in place production companies will have an understanding of the level of skills and knowledge they can expect from the respective media courses and will enable skills centred recruitment across the industry.




Expect to see the latest from miniCASTER. More details to come soon.




G-Technology offers premium external storage solutions for content creators. Our complete portfolio delivers unmatched performance, reliability and style designed for Mac or PC users. With our ever-expanding offerings, you choose which storage solution is best for you whether youre capturing footage or data, transferring it, editing it, or sharing it. From general storage for music to high performance solutions for intensive video editing weve got it covered.

On show for The Tour will be….

  • The new Studio Line including G-RAID Studio and G-SPEED Studio Thunderbolt 2 storage solutions
  • Expandable and modular Evolution Series including G-DOCK ev, G-DRIVE ev, G-DRIVE ev SSD and G-DRIVE ev 220
  • The industry’s most comprehensive line-up of storage solutions designed for professional content creation providing connectivity over USB, FireWire, eSATA, SAS and Thunderbolt.





mLogic designs and markets innovative peripheral products for desktop and portable computers.
The company’s product portfolio includes computer back-up and docking solutions as well as cutting-edge products featuring the new high-speed Thunderbolt™ interface. mLogic is headquartered in the Hayden Tract of Culver City, California a vibrant section of West Los Angeles. The area is a well known bastion of movie and television production and home to many high-tech and creative companies.
Expect to see the following on Tour…
  • mTape – the world’s first Thunderbolt LTO tape drive for simple, cost-effective archiving on location or in the studio
  • mLink – compact, DC powered PCIe to Thunderbolt expansion solutions


TNP Broadcast

TNP Broadcast


TNP broadcast are going to be showcasing products from manufacturers including.

miniCASTER manufacture video over IP streaming and broadcast hardware. Their range of products includes encoders, satellite broadband uplinks with hardware and broadcast quality decoders.

Streamstar are the developers of the world’s first touch control live production system. Their products allow you to live stream broadcast quality live transmission, with very high production values, all in one package.

Airpul manufacture compact, wireless uncompressed HD video transmitters and receivers with some features unavailable anywhere else.

Pixel2media are the creators of the P.Corder; a revolutionary new product that will streamline the way that presentations and lectures are captured and delivered.


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