By Dan Chung

Redrockmicro have beaten Birger Engineering and MTF services to be the first to actually offer for sale an adapter which offers active aperture control for Canon EOS lenses on Micro 4/3 cameras like the Panasonic AF100 and GH2. Passive mechanical adapters which are commonly available have no way to control the aperture of Canon glass so the lens aperture is stuck wide open.

Based on the company’s original Livelens adapter for their Encore 35mm adapters it offers simple push button aperture adjustments in 1/3 stops- but none of the extra features like AF and Image stabilization that Birger engineering are promising (although their adapter still has no release date). The adapter requires 9V power in order to work but the company claim 20 hours operation with a single cell. There are a few limitations and compatibility issues so please read the tech specs properly.

For a limited time it is available at US $442.50, normally US $487.50 from the Redrockmicro webstore. There is no word from Redrockmicro about possible future versions for cameras like the Sony F3 or Nex range.

Here’s is a rip from the Redrockmicro site:

How does LiveLens mft work?
The LiveLens mft is a lens adapter that fits onto any micro four-thirds camera body, and provides a Canon EF lens mount on the other side for attaching any EF-compatible lens. an on board computer and electronics power a small control panel that allow you to adjust the aperture of the lens, open or closed, in 1/3 stop increments.

Does LiveLens do what I need it to do?
Absolutely. LiveLens technology has been used by many professional productions for over three years, demonstrating the reliability and capability of LiveLens. With a few exceptions it works with most EF-compatible lenses.LiveLens mft uses true active EF lens control technology, not fake extra iris, mechanical-only lens mount, or other non-performing poor quality “solutions” found on the Internet today.

How is it powered?
The LiveLens mft is powered by an external 9v battery, which can be switched on and off.

How long does the 9v battery last?
The 9V battery can power the unit for about 20 hours depending on how frequently aperture is adjusted.

Will this adapter work on all of my lenses?
The Redrock Micro LiveLens MFT will work on most Canon EF Lenses. However, there are a few exceptions. LiveLens mft does not power focus by wire lenses like the 85mm f/1.2 and 300mm f/2.8. It also does not work with Canon or third party teleconverters, extenders, or macro tubes.

How would I support long or heavy lenses?
If you plan on using long or heavy glass, we’d suggest a microLensSupport to ensure the lens is secure and properly supported.

Can I use the camera to control aperture?
Currently the lens aperture is controlled only through the LiveLens control pad, not the camera.

Will this power the image stabilizer of my IS enabled lenses?
Currently the LiveLens MFT powers only the aperture control of the lens, and does not provide power for image stabilization.

How does this differ from the LiveLens for the M3?
The underlying control technology of the LiveLens MFT and LiveLens for M3 is identical. Where the LiveLens MFT differs is it’s custom-built flange that attaches the unit to the Micro Four Thirds lens mount. LiveLens for the M3 has been proven to work for over three years in production environments and gives LiveLens mft this proven reliability.

So NAB is all over for another year and even with a team of three covering the event it’s impossible to check out everything that you would like to. Here’s a quick rundown of a few lenses and filters we thought were interesting but either had no time to video or felt was sexy but not appropriate to the news shooter:

First up is the new Redrock Micro follow focus v.3 which was shown last year in prototype but is now working and due to ship soon. It’s a big improvement over the popular v.2r and we’ll wait and see how much that has added to the cost.

Birns and Sawyer were showing the new 4×4 ND fader from Lightcraft Workshop. This matched pair of filters is similar in concept to the Schneider vari-ND we filmed earlier int he week – but comprises two 4×4 filters instead of just one and a screw-in. Designed to be used exclusively in a Mattebox I’d be interested to see how it compares to the Schneider.

Budget follow focus makers D-Focus were showing a nice prototype budget mattebox. It is pretty lightweight and has a swing away option. Price is not set yet but I’m told it will be very competitive.

Next up is this lovely looking PL conversion by Century of Canon’s 17mm tilt shift lens. Quite how you attach a follow focus to a tilted lens I don’t know, but it looks sexy none the less.

Fujinon showed a cine lens that simply rocks, sadly it weighs more than my kit bag and costs more than some luxury cars. Again not one for the news shooter but oh so nice.

A Japanese manufacturer was showing the popular Tokina 11-16mm lens professionally converted to NEX mount. This is easily done with an inexpensive convertor but this is a proper conversion with proper aperture markings. It would be ideal on the upcoming Sony Nex FS-100. Sadly it’s not going to be cheap.

Lastly if you can’t afford any of the other new gear at NAB then maybe you can simply dress up your old lens with a tiger striped skin from lensskins.com.

Arizona shooting: Memorial to Tucson victims from Dan Chung on Vimeo.

How do you cover the aftermath of an event as terrible as the Arizona shootings? In my time I’ve covered a lot of disasters and tragedies, but it really doesn’t make it any easier when the next one comes along.

I had been covering the Consumer Electronics Show in Las Vegas for the Guardian’s tech site when the shootings happened, but as their scale became clear my editors decided to divert me. With no flights available it was an eight hour drive to Tucson. Running through my mind all the way there was the question: how could I add anything to the wall-to-wall, saturation news coverage that I knew the networks were providing?

I determined to make a video report that was not simply repeating TV news. Instead of using the regular TV format of a reporter questioning local people and then giving their ‘view from the spot’ I opted to try to create something more intimate. I wanted to give the people of Tucson more space to say what they wanted about the events.

The following morning I joined the gathered Tucsonians and assembled media for the moment of silence, led by President Obama in Washington. Outside the hospital, where a makeshift memorial to the victims had formed, people were standing, reflecting.

Immediately after the silence there was a rush of reporters and camera crews trying to speak to people about it. I decided to bide my time and wait for it to quieten down so that people could expand more on what was going through their heads as they tried to make sense of events. I then approached people and asked if they could hold my Zoom H1 audio recorder while they talked to each other and myself. Because the Zoom H1 is so small and light no-one seemed to mind holding it, or got distracted by it in the way that fitting a wireless lav on them would have – they just seemed to carry on being themselves and not acting for the camera. This technique also gave me good sound and allowed me to be discreet, filming using a 24-105mm IS lens. The camera was a 5DmkII fitted with a Zacuto Z-finder and a Redrockmicro Running man rig. I love this setup because it is lightweight and mobile but still allows me to keep the camera very stable. Audio from the recorder and the camera was later synced using the marvelous Pluraleyes software.

I also wanted to give a more cinematic feel to my shots so I turned to the Kessler Cineslider and Oracle controller, which I had just received from Eric Kessler to use at the CES show. I had been planning a short video of all the gadgets and the flashing lights to show off the Kessler slider’s amazing movements – instead I put it to an altogether more sombre use. I combined it with slow motion to form my intro sequence of the gathered crowd and the tributes. Shooting on my Tokina 11-16mm lens and a Panasonic GH2 I tried to convey the sadness. I’m still testing the GH2 but the one thing that has struck me so far is just how good slow motion looks when you use the cameras 720p/50 mode slowed to 24 or 25p (mine is a PAL model). It appears to be much sharper than the image I am used to getting with my Canon DSLRs – the downside is that the smaller Micro 4/3rds sensor really doesn’t have the beautiful shallow depth of field look of my 5DmkII footage.

I hope the resulting piece manages to capture the people I filmed in an honest way and at the same time combine it with a cinematic style. I will let you be the judge.

Redrock Micro launch Electronic Viewfinder (EVF) for HDDSLR from Dan Chung on Vimeo.

I’m at the PhotoCine Expo in Hollywood this weekend and was lucky enough to be given an early sneak peak at the Redrock Micro microEVF by Brian Valente.

Here’s the full press release:

Redrock Micro Announces New “microEVF” electronic viewfinder for HDSLR Cameras Ultra compact, Ultra high resolution EVF Sets Standard for Size, Performance, and Price Hollywood, CA – Redrock Micro, the recognized leader in affordable professional-quality cinema accessories, today announced the new patent-pending Redrock microEVF electronic viewfinder for HDSLR cameras. This is the first electronic viewfinder designed from the ground up specifically for HDSLRs, emphasizing compact lightweight design, superior resolution, and incredible affordability.

The popularity of HDSLRs such as the Canon 5D mkII for video and motion photography has skyrocketed in recent years, but the camera body is not ideal for video. The first generation of solutions for monitoring currently available –attaching an optical viewfinder to the back of the camera’s LCD screen –severely limit placement of the viewfinder and camera body and eliminate possibility of using additional monitors for camera assistants or directors. The new Redrock microEVF is an external electronic viewfinder that connects to the camera body and can be placed anywhere for maximum comfort and stability, and can be part of a multi-monitoring solution. The microEVF uses a custom made state-of-the-art backlit LED fitted in an attractive, ergonomic housing.

Key features of the microEVF include:

A full color HD viewfinder designed specifically for the compact, lightweight needs of HDSLR cameras. The microEVF weighs in at less than 8oz.
Ultra-high resolution display that is higher resolution than the Canon EOS cameras’ rear LCD and even the Red BOMB EVF from Red Digital Cinema.
LED backlight maintains bright crisp picture with minimal power consumption
Electronic assist features that will be announced closer to production release
Infinitely configurable mounting options to position the microEVF exactly where desired
Self-contained battery and low power consumption for a full day’s continuous viewing
“We feel it’s time for a better approach to HDSLR camera monitoring,” said James Hurd, Chief Revolutionary for Redrock Micro. “The microEVF meets this need with an elegantly designed, compact solution that is not only affordable, but also sets a high standard for features and performance.”

The microEVF also compliments advanced camera crews by working alongside external monitors, such as a monitor for the assistant cameraman, or one for a director or video village. The microEVF is compatible with any HDSLR or video camera that provides HDMI output while recording. Cameras known to be compatible include the Canon 5D mkII, Canon 7D, Canon 60D, Canon T2i, Canon 1D MKIV, Nikon D3s, Nikon D300s.

Pricing and Availability microEVF is amazingly priced at $595. Availability has not yet been announced. More information can be found at www.redrockmicro.com/evf

About Redrock Micro Redrock Micro revolutionized independent film production in the early 2000s with the M2 Encore cinema lens adapter, and reinvented digital filmmaking in 2008 with HDSLR cinema rigs and accessories. Today, Redrock Micro continues to lead the industry in innovation with its award-winning depth-of-field adapters, support rigs, focus controllers, and advanced cinema accessories. More information can always be found at redrockmicro.com.

New F-Stop academy DVD download by Dan Chung goes on sale.

DSLR Video on Assignment combines two of my greatest passions – DSLR video and real world storytelling. I’ve been shooting DSLR video since day one, I made a short video the day the Canon 5DmkII came out and I’ve not looked back. I’m constantly being asked about how to achieve the best results and it’s impossible to answer everyone’s questions. So when training professional Den Lennie of the F-Stop academy asked me to make the ‘DSLR Video on Assignment’ DVD download I jumped at the chance. He had previously shot and produced Phil Bloom’s excellent 5DmkII and 7D DVD guides.

I wanted to create a one-stop shop for shooters looking to up their game, explaining not just the technical stuff but my whole approach to shooting. I believe this practical information to be the key to great DSLR video and even though there are a lot of DSLR websites out there (including this one), this download offers the sum total of the knowledge that I’ve accumulated about how to shoot DSLR video during live events.

To give you an idea of what it’s really like to be on assignment it was shot during the real events surrounding the Hindu festival of Thaipusam, held annually in Malaysia’s Batu caves.

Thaipusam Trailer from Den Lennie on Vimeo.

It’s for news photographers and photojournalists who can’t afford to miss the action, but it’s also for documentary makers, event videographers or keen amateurs; anyone who ever needs to film with a DSLR in a real world environment.
Whilst I mainly use Canon DSLRs in the DVD I believe the majority of the techniques apply whatever brand of DSLR you are using.

As I say in the DVD, I think photographers owe it to themselves to give DSLR video a go, to find out if they are any good at it or not. This will make your life much easier when you do so.

Here’s a list of what you’ll find on the DVD download:

Chapter 1  Understanding D-SLR Functions
We look at the core differences and similarities to photography and we spend some time setting up the a Canon to shoot in Video Mode.

Chapter 2 Lenses, Focal Length & Crop Factor
Understanding the effect of crop factor has on effective focal length.

Chapter 3 Light control, Picture Styles and using Filters
The optimum set ups to give you the most control visually.

Chapter 4 Camera Movement And support for Video
Moving the Camera.  All the techniques that are largely specific to shooting video.  This is a steep learning curve for photographers but I walk you though clearly and concisely.

Chapter 5 Shooting in Low Light
Low light shooting on the 1D Mark IV- This section covers working at night in a Hawker market, demonstrating the incredible low light and resolving capability of the Canon 1D Mark IV

Chapter 6 Basic Audio recording techniques 
In a busy restaurant I demonstrate 3 separate ‘simple’ audio recording techniques.

Chapter 7 How to record advanced audio for DSLR
Recording Advanced Audio, we return to the Hawker market but this time I share an advanced ‘Dual Sound system’ for recording audio that gives me more control.

Chapter 8  The Pre Assignment Recce
I spend 4 hrs scouting the location in advance of the assignment.  I will walk you through my thought processes and how the shoot will differ from a straight stills only shoot.

Chapter 9 Pre Assignment Final Kit Check
Working solo in movie mode requires some extra kit, I explain how the kit breaks down and what to carry without compromising on quality.

Chapter 10 The Assignment 
This is a very intimate journey, working side by side with me in the thick of a festival with over 1 million devotees, body piercing, rituals and stunning images make this the climax of the training documentary.

You can read a review by videographer Jon Mckee here. Jon says

Without hesitation I recommend this training video to anyone who shoots or desires to shoot documentary style DSLR video, or even someone simply interested in following a pro in the field as he crafts his story.

On my travels at NAB 2010 I managed to secure some great giveaways for followers of DSLRnewsshooter.com. Then I got so busy covering the UK election (in stills) for The Guardian newspaper and website that I had no time to post this until now – a thousand apologies. If you are interested in what I’ve been up to you can look here

To be in with a chance of winning one of these marvellous pieces of kit you need to register for the site, if you haven’t already, and then post below so I know which one of the three items you want. After one month the names will be put into a hat and the lucky winners drawn out. But you can only choose one item and you can only enter once – multiple entries will be disqualified and as in all good competitions the judge’s decision is final.

Your entry should look something like this:

Yourname – I would like to win a Redrockmicro DSLR baseplate…..

It’s as simple as that. Humorous comments are allowed after the item of your choice but will make no difference when it comes to the draw.

First up is a Redrockmicro DSLR baseplate that forms the basis of the Redrock DSLR system and can be added to any 15mm support rods. The giveaway is Redrockmicro’s demo unit from NAB so is not brand new, but it’s a great piece of kit which I use myself. For more info look here

Next up is a very cute Zacuto Point and Shoot grip for improving your video with a compact camera like the Lumix LX-3 or the HD Flip. I put one of these in my day off kit with my IXUS. More info here

And last but by no means least is the Genus GAP plate which when attached to your DSLR rig or camcorder allows you to mount your system on a professional Sony VCT-14 tripod quick release plate. If you are used to shooting ENG you know what I’m talking about. A great prize for any serious newshound. More about it here.

I’d like to thank all the manufacturers for donating the prizes and taking the time to talk to me at NAB – it was a great show and hopefully DSLRnewsshooter will be back there next year for more. I’d also like to give a special thank you to Scott Karlins and Den Lennie of F-Stop academy for helping at NAB.

Matt Jasper, a cameraman for the UK’s Channel 4 news, picked up his Canon Eos7D this weekend and promptly rigged it up with some cool toys so he can use it for ENG. He’s planning to blog here about the experience of changing from a big, heavy ENG camera to a 7D rig, stay tuned. Here’s a quick video we did as his first instalment.

Products from Canon, Redrockmicro, Genus, Zacuto, Zoom, Sony and Pinknoise systems.

Canon 7D – TV cameraman Matt Jasper unboxes and rigs up his new 7D from Dan Chung on Vimeo.

You can see more about Matt and his work covering the Chinese earthquake on the Channel 4 news website here