Are you one of those people that frequent the Twittersphere or the blogospheres in the ever so expanding World Wide Web? If you are then you will know about the exclusive and intimate gig that was held in Studio 2 at Waterloo Film Studios end of March. Leona Lewis held a special gig for fans on March 26 to celebrate her current collaboration with The Body Shop.

The singer is the new Brand Activist for the high street retailer. She is campaigning against animal testing for cosmetics, ahead of the EU ban on March 11. Lewis has also put her name to an exclusive cruelty-free make-up range and fragrance collection, named the Limited Edition Collection by Leona Lewis. The range is made up of 100% vegetarian cosmetics and is available from selected stores right now. “I’m passionate about beauty and I’m all about animal rights,” Lewis said in a statement.

“As a result, I’m really conscious of where the products that I use come from. The Body Shop sells cruelty free, ethical products containing amazing Community Fair Trade ingredients. The collaboration is a natural fit!”

The whole event was streamed live online by Livestream for everybody to experience the talented lady do her thing. There were people from all over the world who were posting question to her live on air and she would finish a song and then answer a few questions that had come in. The star is currently working on her fourth studio album - the follow-up to 2012′s Glassheart - which will be released later this year. Have a look at her performance in the studio, click on the image accompanying this blog.

To those of you unlucky enough to be in the same office with someone who has just returned from the Las Vegas NAB Show 2013; there will be one story they will tell to leave you green with envy. This has been the main talking point around the Waterloo Film Studios corridors lately. Everybody is talking about Red Digital Cinema new Dragon 6K sensor and most impressively the way they displayed their on-sight sensor upgrade facility. Apparently RED had their own show within the NAB show if you know what I mean.

It was a practical performance resembling a scene out of some futuristic movie blockbuster, complete with lab workers in uniform actively upgrading people’s Epics and Scarlets sensors on sight. This was all taking place inside a purposely constructed and fully sterile lab enclosure right there on the showroom floor at NAB. Excited fans watched from the other side of the glass as the technicians probed, zapped and scanned microchips onto camera bodies.

The new Dragon 6K sensor enables 6K shooting at 6144 x 3160 pixels and up to 100 frames-per-second, offering three additional stops over the Epic M-X. A wall of glass separated fans from the engineers in the clearly visible clean room, the engineers were diligently going about their duties despite the constant gaggle of excited customers just a few feet away.

Also launched at the show was the REDlink family of products, this comprised of the Meizler Module, REDSync Master, REDlink Wireless Receivers and the REDSync App. The REDlink product family includes everything one needs to go wireless on set. This gives the use the ability to transmit video, audio, and timecode wirelessly and control it all from an iOS app.

NAB is the event for those in the film, media and video production industry, held annually for techie geeks eagerly anticipating events and announcements from technology giants such as Sony, Canon, ARRI and others. By the looks of it, the event has turned into a gadget flee market for film and video enthusiasts. Make sure you go next time so you can be the one telling all the stories about the latest entics .

On the 20th February 2013, ARRI announced they were refreshing their product line with the new ALEXA XT (Xtended Technology). The day after on the 21st February in conjunction with Codex, we used the ALEXA XR with Codex Capture Drives on the worlds first ARRIRAW 120FPS shoot. All taking place in our usually green screen but this time blacked-out  Studio 2 at Waterloo Film Studios. Working as a gaffer along side DOP Stuart Bentley and Camera Assistant James Hills we filmed dancer Leah Debrincat  against a black background with a few hard light sources testing the full latitude of the new upgraded ALEXA XR. The film was directed by Laura Redpath from Codex, and coloured by Greg Fisher.

Shooting with Cooke S4’s at T2.8-T4 the ALEXA XR was recording at 120FPS ARRIRAW onto 512GB Codex Capture Drives, and then transferred using the Codex Capture Drive Transfer Station. The final video was edited in Final Cut and then coloured in Baselight. The ALEXA XT, XT M, XT Plus and XT Studio cameras will replace all previous models except for the original ALEXA. Owners of existing ALEXA cameras will be able to purchase individual upgrades that deliver most of the features of the XT configuration.

It seems that ARRI and CODEX have both listened to the feedback from professional users of the ALEXA and produced a faster and more affordable way to shoot with the ARRIRAW configuration. ARRIRAW has become the output of choice for feature films, including The Avengers and Skyfall and Codex recorders have become the recording standard. The new range of camera models come with the new XR Module, that replaces the original SxS module. Users now have the ability to shoot at the ALEXA’s highest quality image output, inside the camera. The XR Module is an integral part of the new ARRI ALEXA XT camera it provides several recording options in a single package.

ARRIRAW at up to 120FPS (16:9) can be recorded onto a high performance Codex Capture Drive. In addition to ARRIRAW, Apple ProRes or Avid DNxHD can also be recorded to a Codex Capture Drive, making longer recording times possible (up to 2.1 hours of ProRes 4444 at 24FPS or up to 15 hours of ProRes Proxy). With an SxS Adapter it is possible to record ProRes or DNxHD to a single SxS PRO card, thus protecting the inventory of existing cards. The XR Capture Drive offers a number of different paths into post, using proven CODEX workflows.

The Codex XR Capture Drives are identical in form to the current Codex Capture Drives and are compatible with the Codex Vault, Codex Capture Drive Transfer Station and the Codex Capture Drive Dock (USB-3). These provide production-proven options for offloading and moving material from production into post. Codex Capture Drive’s are exceptionally fast and rugged and will come in the sizes of 512 GB XR Capture Drives.

In Camera Filters:

Recently Schneider Optics announced that they were manufacturing the new In-camera Filter Module (IFM-1) Based on a design made by Clairmont Camera’s Andree Martin and Alan Albert the IFM-1 allows a secure and precise positioning of these custom made filters behind the lens. The filter system works by using a specially designed magnetic filter holder that replaces the light baffle in the ALEXA, once in place the holder allows you to place the specially manufactured filters behind the lens of the camera. Filtering behind the lens rather than in front will reduces weight, reflections and operational complexity. Once the camera has been fitted with the internal mounting assembly, filters can be installed or changed in the ALEXA in a few minutes. The in camera filters cannot be stacked so to get around this Schneider have created combinations of filters.

Currently the following filters are available:

Optical Flat
IRND 3, 6, 9
IRND 3, 6, 9 with Black Promist 1/8
Black Promist 1/8
IRND 3, 6, 9 with Black Frost 1/8
Black Frost 1/8

The Ultra Precision Multi Coated In-Camera IRND filters used with the IFM-1 are based on innovative technologies that assure highest image quality and perfect color balance. The option to have an in camera filter tray also now offer the opportunity for the cinematographers to now add nets in-camera, where as before camera assistants would painstakingly take time to stick nets to the backs of each individual lens. Clairmont have also designed an in-camera, unlike streak filters used in a matte box, no glass is used in the filter ring. Therefore, there is no focus shift or possibility of unwanted reflections caused by the filter being placed in the optical path. The filter ring can be rotated to any position desired during installation. The In-Camera Filter Kit for the ALEXA will interface with most PL lenses but is not compatible with Zeiss T2.1 16mm, 24mm, 32mm, Arri Macro 16mm, 24mm, and 32mm as well as Cooke Series II and III 18mm, 25mm and 32mm. Lens extenders may also interfere with the kit’s filters. The ALEXA In-Camera Kit is also available without filters, so users may buy only the filters desired. Schneider Optics anticipates adding other popular filters to fit the kit.

True anamorphic with a 4:3 sensor: For the most effective use of anamorphic lenses, each ALEXA XT model is equipped with a 4:3 sensor, the same size and shape as a Super 35 mm film frame. This is crucial for delivering the unique and cinematic widescreen look that can trace its origins back to the CinemaScope films of the 1950s. It is a look that has long been appreciated by cinematographers, directors and the viewing public. An anamorphic de-squeeze license is included with all XT cameras, as is a high speed license for filming at up to 120 fps. The 4:3 sensor will also be useful on non-anamorphic productions as it permits significant reframing of the image in post, similar to shooting 4-perforation 35 mm.

More efficient VFX through ubiquitous lens metadat: Lens metadata is invaluable for a speedy VFX post workflow, which is why all ALEXA XT models are equipped with an LDS lens mount. The ARRI Lens Data System (LDS) reads the position of all lens rings and writes them into metadata in every format ALEXA can record. Over 41 lens models have LDS built-in, including the ARRI/ZEISS Master Anamorphic, Master Prime and LDS Ultra Prime series, the Master Macro 100 and the ARRI/FUJINON Alura Lightweight Zooms. For all other lenses it is possible to store the lens table inside the ALEXA by using the Lens Data Archive feature.

Super silent XT Fan: ALEXA cameras are already among the quietest digital cameras, but an even quieter fan has become available and ARRI has incorporated this new fan into the ALEXA XT models, providing an extra safety margin in very quiet or very hot environments.

Future proof – upgrades for existing ALEXA cameras.
The ALEXA system was designed for professional customers, providing high build and image quality, but also modular upgradability and long product cycles to ensure a solid return on investment. Having already released various upgrades, licenses, options and free-of-charge Software Update Packets, ARRI is now offering upgrades for existing ALEXAs that provide most of the functionality of the XT cameras. These upgrades include the XR Module, In-camera Filter Module IFM-1, Viewfinder Mounting Bracket VMB-3, Viewfinder Extension Bracket VEB-3, XT Fan and the anamorphic de-squeeze and high speed licenses.

Refresh of ALEXA camera family

ALEXA XT, ALEXA XT M, ALEXA XT Plus, ALEXA XT Studio
XR Module for faster, more affordable ARRIRAW
In-camera ARRIRAW up to 120 fps
In-camera ProRes or DNxHD up to 120 fps*
Fast 512 GB XR Capture Drives
Proven, efficient Codex on-set or near-set workflows
Less weight and easier working with internal NDs
In-camera Filter Module IFM-1
Internal filtration reduces reflections, weight and hassle
New high-tech filters based on white-water optical glass
Neutral color balance at all densities through absorptive IRND coating
Accurate infrared cut off
High image sharpness through precision polishing
High contrast through anti-reflective multi-coating
Available in 8 densities from ND 0.3 to ND 2.4
True anamorphic with a 4:3 sensor
4:3 sensor on all XT models
Anamorphic de-squeeze license included
High speed license included
Lens metadata for efficient VFX
LDS PL Mount on all XT models
Comfortable, flexible new viewfinder mounting
Viewfinder Mounting Bracket VMB-3
Strong and rigid construction
15 mm lightweight rods hold viewfinder mount
Rods can take lens motors, matte boxes, follow focus etc.
Special hard, low friction anodizing on all moving parts
Built-in bubble level
New Viewfinder Extension Bracket VEB-3 (separate accessory)
New, sturdy VEB-3 design
Viewfinder rests on camera through VEB-3 fold out arm
Super silEnt XT Fan
XT-spec upgrades for existing ALEXAs

Separately available upgrades include: the XR Module, In-camera Filter Module IFM-1, Viewfinder Mounting Bracket VMB-3, Viewfinder Extension Bracket VEB-3, XT Fan and the anamorphic de-squeeze and high speed licenses.

Note: All technical data based on Software Update Packet (SUP) 8.0, except: * DNxHD recording in general and ProRes 4444 at 120 fps will be available in a later SUP. All data subject to change without notice. Thanks to Clairmont Camera, ARRI, Schneider Optics and Codex Digital for the information. Pictures taken from ARRI and Codex Digital websites, Framegrabs and camera tests by Andree Martin, Arturo Jacoby, Aaron Wise and Scott Eisner at Clairmont Camera. Thanks to Jon Fauer and for additional information. Please see Schneider Optics, Clairmont Camera, and ARRI for more information about their In-Camera Filter System for the ARRI ALEXA XT cameras.

Well, everyone has been talking about it. Now its finally here!  A 4k Blackmagic cinema camera, or as Blackmagic are calling it: “The Blackmagic production camera 4k”. It’s a 4k camera and it features a S35 sized sensor with a global shutter.

Apparently the new 4k camera is based around completely different sensor to the original Blackmagic Cinema Camera. It features compressed CinemaDNG RAW which is interesting. The data may need to be compressed as the camera uses standard SSD cards and 4k is a lot of data to contend with. The biggest advantage about this bit of kit is that it comes equipped with the sort after global shutter. This means goodbye to the dreaded ‘smear effect’ that everyone hates. There might be a slight loss in dynamic range and low light performance but for most, that would be a small price to pay.

I can imagine the EOS crowd being all over the 4k camera and understandably so.

Indie four-piece band from Camden have recorded the eagerly awaited follow-up to their 2012 debut ‘Baby’ in Los Angeles’ Sound City Studios. Apparently it’s the same place where Nirvana’s ‘Nevermind’ was record was done, which means it’s a rather iconic recording studio.

Speaking of iconic, their new video for the single ‘How The Other Half Live’ radiates of vintage iconic imagery. Shot in Studio 1 at Waterloo Film Studios using the ARRI 416, 4th generation 16mm camera. A beautiful video with an authentic throwback look to accompany a wholesome sound. Speaking about ‘How The Other Half Live’, Jonny Lloyd the band’s frontman added: “We have a lot of fun playing that live, we’re actually touring that at the moment.” He also said of the second album: “There’s a probably a little more soul in these new songs… I think we’ve just grown up a bit”.

With a string of live dates already announced for 2013 and their single on heavy rotation on popular radio stations, The Camden quartet look to be on the verge of being a household name type band. Lookout for their new album ‘Wish To Scream’ to be released on May 20, 2013. Click on the image to see the video.