PMW-EX1 First Look Part 2 - Using the EX1 on a shoot

The PMW-EX1 on location
(click to enlarge)

I recently had the chance to use a prototype PMW-EX1 on a dramatic style shoot for a concept trailer, and so I though I would share my findings with all of you.

The project in was a concept trailer for a zombie movie. I became involved in the project through friend and Silencer cohort Glenn Salvage, who was also directing the production. Zombie Makeup was provided by prosthetic meastro Stuart Conran of Shaun of the Dead fame, a good opportunity for the EX to show off the detail levels that it is capable of. The location was, bizarely, the Brighton Film School of all places.

Originally I had planned to shoot this on my PDW-510P XDCAM, a sterling camera by anyones standards. However I decided to take a bit of a risk. While I had provisionally planned to shoot the occasional shot with the EX as an added take to see what it could do, I eventually decided to shoot the entire trailer with it. This could possibly have led to some major brown trouser moments. Luckily it didn't.

Using the EX1's manual lens
(click to enlarge)

The trailer in question was, as I mentioned earlier, a concept trailer. The location was fairly limited in scope due to limited lighting equipment availability and and a reduction in the number of possible camera angles due to the way natural light had to be blocked from the set. The shot list was fairly basic which in many circumstances might make things simple. Although in such a small location and limited means this usually translates into lots of niggly issues that are hard to resolve. In this instance the first problem was sorting out motivated light. I decided in the end to go hell for leather on a possibly slightly overlit, yet low-key style. In the grand scheme of the trailer this location could have been anywhere. Things had to be kept low key and sinister, but I wanted it to keep some gloss.

For the main key I used a 4 bank Kinoflow which by luck the filmschool allowed us to use. This was dimmed to achieve the level I wanted, while I used a 500w fresnel as a hard cheek/rim light coming from behind the actors. This style seems quite prevalent these days, and possibly now a little cheesey, so I really should stop using it! I also used another ND'd 500w fresnel as a very subtle orange tinted kicker as a motivated source from some nice orange wall mounted lights which were in the real location. In other words I used 2 point lighting with an added subtle kick. It did the job.

The PMW-EX1
(click to enlarge)

The location had a lot of plain white walls. Ugh! So I had it broken up with a random pattern. Lighting 101 quite frankly. Nothing too complicated, and nothing that couldn't really be done by anyone on a very low budget, even if some things would have to be done on the cheap (such as homemade softbox or egg crate).

Why am I mentioning all of this? Firstly because I don't write enough of this stuff, and secondly because the EX will most probably be used for a lot of micro budget features. What I will say is that lighting takes time. Even with seemingly simple setups. Boom shadow, camera shadow, cast and crew shadow, cast and crew reflection in windows etc, all make life very difficult sometimes. If you are planning a micro budget feature, please do light it! But never ever think you will get through 100 setups in a day as rather too many people seem to think they will!

So, back onto the EX. This was the first time I had used a version of the camera with the final LCD. The viewfinder was still not too good, but the LCD was 1920x480 in resolution. You *can* judge focus on it! I know a lot of people out there will tell me that I am talking crap. Okay, that's fine, think what you like. But I'm telling you that subtle focus can be seen on this LCD. No, I am *not* suggesting it as a substitute for a decent on set monitor. So put away those impatient fingers if you were thinking of writing me an email to complain about that.

The PMW-EX1 about to be zombified!
(click to enlarge)

Audio input switches were very flimsey on this model. At one point the 48v phantom power cut out because the switch had flopped into a different position. I doubt this is anything at all to worry about though as the final version will most definitely be more robust.

A note on audio in general. For the most part things seemed very clean. I will follow up this article once I get to examine it closer however. I did notice some noise in the background, but this needs examination to check whether it was due to some other factor.

I found that using the lens on the EX1 was a pleasure. As I mentioned in my first article the feel of the controls is almost exactly the same as a full size camera lens. I do have one or two niggles however. The first is that the distance between the focus ring and the iris ring is too far to allow easy manual control of all three controls with the same hand. I am used to adjusting focus, pulling iris, and using a follow zoom at the same time (yes, it is a bit like playing the piano in terms of dexterity!) This isn't quite as possible on the EX. Although there probably aren't that many people who use manual controls to this extent.

A screen grab *not* at native resolution
(right click to download)

The second issue is that while operating the focus ring my hand kept covering up the focus marking window. The camera could really do with the focus markings on the outside of the barrel like a full size lens. I suspect this limitation was due to it needing to be able to switch between full mechanical manual operation and servo modes.

The viewfinder is rubbish. I have a feeling that the one on the final camera will be improved on the one that I used, so don't give up hope yet. Suffice to say that I wouldn't think of using it on the camera I tested.

A screen grab *not* at native resolution
(right click to download)

Lens ramping. Looks to be around 2/3 of a stop or so. I haven't actually measured this, but eyeballing it this is what I would say it was. Not too shabby for a lens of this price range!

I've grabbed some screenshots for people who were wanting them. Unfortunately these are *NOT* at the native resolution. I haven't been able to extract files yet so I have had to perform a basic screen grab rather than one off an editing timeline. Bear with me. As soon as I can get these files into Vegas or FCP I'll put up the native res shots.

The EX1's size made moving it around the set very easy. This was a large factor on this particular shoot whereby the location was very cramped. What I came out of the shoot realising was that the EX1 was pretty much on par with the likes of the 350 in many regards. Anyone wishing to use the EX1 as part of a larger XDCAM HD shoot is going to have no trouble at all intercutting and matching the footage.

There will always be an advantage to being able to switch lenses on a camera, but in this instance the EX1 will make a fantastic choice for anyone wanting XDCAM HD quality, but wants faster mobility of a smaller camera. Stating the obvious really.

The next article will be about workflow. Just how do you get those EX1 files into an NLE and archive them?

I would like to extend my thanks to Steve Lawson for the on-set photos. 

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