Canon’s brand-new 60d camera doesn’t represent a significant video technology breakthrough. So why am I so happy to have one in my hands this morning? The image quality is virtually identical to the 7d, it doesn’t autofocus faster, and its sound capabilities already exist on the 5d. Never mind. I was happy to pay the extra $50 so I could have this beauty delivered to my house this morning from the first place in the country to stock them. Why? For one reason: the articulating screen.

This small, low-tech addition is the difference between wanting to use my DSLR and actually using it. I shoot on a Steadicam Merlin a lot, and having this articulating screen means I’ll be able to use a Canon DSLR without flying blind.

And for “normal” shooting? If I had a quarter for every time I cursed Canon for making me break my neck or lie on the ground to peer through the back of the camera to get a low-angle shot, (which is like half of the time I’m shooting), this camera and the extra shipping would have been paid for long ago. Nice work, Canon!

I’ll be shooting with the Canon 60d this weekend and may have more to say about it. But I doubt there’s much more that needs to be said than this. Oh, maybe one more thing: here’s my recipe for balancing Steadicam Merlin on the Canon 60d (with Canon EFS 18-55mm lens):

Front weights: 1 mid, 1 finish
Lower weights: 1 start, 1 mid, 1 finish
Arc size: 10.75″
Mt. hole: M
Z: -3
G-platz: no

My $99 Zoom H1 arrived yesterday, and as expected based on early reports, it IS flimsy. But nevermind – the tiny size and killer price makes it possible to overlook that. The more immediate concern is: how does it sound?

I did a simple side-by-side comparison of male dialog (my voice reading the first paragraph of Origin of Species) recorded in my office, in three configurations: a Tram TR50 lav (run through a Sennheiser G3 wireless transmitter), built-in stereo mics, and Rode VideoMic. I didn’t do any post processing on the files except to reduce gain slightly on a couple files so they roughly were the same level for the comparison. Here’s how it sounds (WAV files recorded at 48khz 24bit):

NOTE: I just discovered that the wordpress plugin I installed yesterday to steam these only serves the WAV version of the file if you have an HTML 5 compliant browser. Otherwise, it serves up an mp3 (no good for comparing audio.) So to be safe, I’ve posted direct links to the WAV files in the comments.

https://www.danmccomb.com/wp-content/uploads/2010/09/h1-built-in-stereoH1 with built-in stereo mics

https://www.danmccomb.com/wp-content/uploads/2010/09/h4n-built-in-stereoh4n with built-in stereo mics

https://www.danmccomb.com/wp-content/uploads/2010/09/h1-with-tramh1 with tram

https://www.danmccomb.com/wp-content/uploads/2010/09/h4n-with-tramh4n with tram

https://www.danmccomb.com/wp-content/uploads/2010/09/rode-with-h1h1 with Rode VideoMic

https://www.danmccomb.com/wp-content/uploads/2010/09/rode-with-h4nH4N with Rode VideoMic

Conclusion: The Zoom H1 records solid dialog. But if you were hoping for the same H4N quality in a smaller package, you will be slightly disappointed. To my ear, the H1 delivers dialog that is flatter and less rich, especially in the higher frequencies, than the H4N. It’s not such a radical quality drop that it’s a dealbreaker, though. Far from it. Until now, all we’ve had in this size and price range has been crappy mp3 recorders that cost the same or more and sound like shit. The H1 can record dialog that’s quite usable, from a tool that’s affordable, and ridiculously small. I call that a winning combination.

I plan to use the H1 two ways: mounted on my dslr for recording dual sound, and as an inexpensive alternative to purchasing another expensive wireless lav. For the latter combo, it’s small enough that I can hide the recorder on the subject along with a wired (instead of wireless) lav. One drawback to this: no ability to monitor while recording, since the recorder is on the subject. And, I haven’t been able to find a self-powered Tram TR50 lav that has a 3.5mm jack (but that’s nothing that a pair of wire strippers and a soldering gun can’t cure) UPDATE: I’m using this adapter to make it work.

Random observations:

• In general, to get roughly the same recording level from the H1 as the H4N, I found I had to set the recording level on the H1 around 10 db higher than I did on the H4n.
• MicroSD cards are TINY. It would be very easy to lose one of these – it’s literally smaller than my little fingernail. And if you’ve got big fingers, you’ll have a hard time fishing the thing in and out of the card slot. I found myself wondering if the next step in this evolution will be a micro card that is permanently embedded in your forearm, which wirelessly transmits the data whenever you need it.
• With a little EQ matching in Soundtrack Pro, I was able to get the clips to match well enough that they’d cut virtually seamlessly.

I hate dealing with releases. It’s a huge pain in the ass to carry around reams of paper and intimidating to people you’re otherwise trying to put at ease. So I was thrilled when my friends Basil Shadid and Matt Freedman turned me onto an iPhone app they jointly developed, called mRelease. I’ve had a chance to use it for a couple weeks, and it’s successfully changed how I feel about getting releases!

Everything you need for your next release is contained within the app, beginning with boilerplate legal text (which Matt assures me they hired a real lawyer to create and vet). The novelty of signing with your finger is actually kinda fun, and the app let’s you snap a picture of the subject to attach to the release, so that if you forget the person’s name, you can id them by their photo later. It then emails a copy to yourself and the person signing. Sweet.

Here’s a few screen shots:

This app works great if you don’t have huge numbers of releases to collect, but it doesn’t work so well as a way to organize your releases and keep track of them. For that, you’re best off to take the PDF copy of the release that is emailed to you, and fit it into your existing system (I store mine in a folder called “releases” contained within the project folder for the film I’m working on, organized by date).

Included within the app so far (it’s been updated once already) are: Appearance releases (the most common type that I use), Property releases, Location releases and Crew releases. You have the option of giving them an unlimited release, or a release limited to the project you are working on. There’s an option for guardians to give consent for children as well.

The app costs $2.99, a bargain considering the amount you save on printing supplies and paper if you commit to going paperless with your releases. I’ve done it, and won’t be looking back.

I had a potential disaster today: after returning from two big commercial shoots, which I shot with my T2i in 720p 60p, I popped in the 32 gb SD card with most of the morning’s work on it, and immediately came to the horrible realization that of more than 100 files on the card, only 6 were readable. The rest of the quicktime files were visible, but showed only 33 KB on disk for each of them. Obviously, something had gone horribly wrong.

I spent the next 7 hours researching all of the data recovery options available, initially without finding a solution (at one point I was so sure the data was gone for good that I contacted my client and told them I had to schedule a reshoot, never a fun conversation). But I kept trying the many tools available and finally found one that got my files back. So if you’re facing the same situation, read this first and hopefully you’ll be good to go a lot faster than I was.

Two stills that I snapped during the shoot, which also showed up as 33KB files, I was able to open. However, only the first couple of lines of image data displayed – the rest was gray. Like this (see image to right).

Background: During my shoot this morning, my camera was overheating constantly – the little red temperature light was blinking like mad. But I’ve seen that before, enough not to worry about it – if it gets too hot, the camera just shuts down, cools off, and then you’re good to go in a few minutes. I had a perfect storm today: in addition to the overheating, the card got full and the battery died all at about the same time. All I remember is an error message displaying on the screen which said something to the effect of “Unable to save files to disk” and then it went black. I didn’t worry too much about it, because I’ve never had a problem before when the power dies on my T2i. But after today, I can tell you that I will very much worry about it. As best I can tell after researching this, it appears that the culprit for the lost data in my case was running out of power while shooting. Don’t let it happen to you. But if it does, all is not lost. Here’s how to resurrect your files.

I’ll spare you the long list of 7 demo software applications I downloaded and tried, without success, and just jump straight into the killer app that saved the day: Klix Digital Picture Recovery. This $29 piece of software is worth every penny, and then some. After scanning my sd card, it built a list of all of the missing files. However, it did NOT include a preview – which at first led me to believe the files were not recoverable. But in fact, they were.

The way I discovered this was by trying the nuclear option – a company called Aero Quartet that has a sweet piece of software for Mac that you can download to diagnose your broken Quicktime files, called Treasured. Treasured scans your damaged quicktime files, and tells you the odds that your file is repairable, and walks you through the steps of preparing it for submission to them, where a real human will look at your file, and attempt to salvage it. They will give you an estimate of how much this will cost automatically, and a real person will confirm it before you are charged.

In my case, one of the diagnostic screens said “surprisingly, your file can be opened in quicktime.” I was all, huh? It can? I went back to the saved Klix file, and sure enough, it opened just fine. Audio was perfect too. Whew!

I’m grateful that I didn’t have to use Treasured’s more expensive service this time, but I’m grateful for their help diagnosing my file issues and really glad to know it exists.

And the next time the battery starts blinking red on my Canon dslr, you can bet that I’ll be changing the batteries BEFORE it goes dead.

UPDATE: The same software also works if you accidentally format your card before downloading the files.

I’ve been happily using a Zoom H4N digital recorder since last October to record audio such as interviews. I use it primarily with a AT875 shotgun mic, which requires phantom power. It’s no problem, because the Zoom has a mode that provides it. But I’ve noticed the price you pay for using phantom power, at least with my AT875, is reduced battery life. WAY reduced. I generally can expect about two hours max of record time. And if you’re using rechargeable alkaline batteries, that drops to less than half an hour, as I discovered this morning.

But here’s a far worse discovery that I made today, which amounts to a serious design flaw with the Zoom: if you’re recording when the batteries die, you lose everything recorded on the clip up to that moment (it saves a 0 kb file, rather than a file with your data in it).

Bottom line: the Zoom H4n is a great recorder. Just don’t EVER let it run out of batteries, and it eats them like candy, at least if you’re using it with phantom power and an AT875.

I recently took the plunge into DSLR cinematography by purchasing an $800 Canon T2i. If you scoff at the idea that video shot on a consumer grade Rebel can be taken serious by pros, I look forward to showing you some of the video I’ve been shooting.  I’ll post a proper review of how this unpretentious game-changer is working for me in my documentary work soon. But today I want to talk about lenses.

Both Lara and I used to be professional photographers, and during those years, we acquired a fair bit of top-notch Nikon glass. So when I was looking for a HD video DSLR, I looked in vain at Nikon – Canon is so far ahead of every other DSLR manufacturer in this regard that it’s not worth discussing. I’d long heard about adapters that allow you to use Nikon lenses on Canon bodies, but I’d always dismissed them mainly because they don’t work with autofocus or other electronics, which is a big deal on modern still cameras.

But video is another matter entirely. Manual focus is the only way to go with video. Furthermore, one of the limitations of the T2i interface is that, if you’re using modern Canon lenses, you have to hold down a button on the back with your right thumb AND AT THE SAME TIME rotate a dial with your right index finger to change the aperture. That’s lame. Wouldn’t it be nice to just rotate the aperture ring instead? Using a lens adapter, you can.

Looking at lens adapters can be confusing: They range in price from a $270 model from Novoflex, to a $79 model from Fotodiox, to a $9.99 model sold by a top-rated Hong Kong ebay member Kawaphoto. I’ve since purchased and used 4 of them, and here’s what I’ve discovered.

I began by ordering the cheapest one from Hong Kong, and it arrived in less than a week via mail. With a little guesswork in how to correctly attach the thing (it comes with no instructions), I figured out how to rotate and lock it into place. Then I gingerly seated it on the Canon, worried that the protruding elements of the old Nikon lenses would hit the mirror or other electronics on the Canon. In fact, I had to remove a protruding element on my Nikon 35mm 1.4 lens in order for it to fit. But once that was done, it clicked into place and was good to go. The video produced was sharp and the lenses focused normally, no problem focusing to infinity (but it does allow you to go beyond infinity, which is slightly annoying if you routinely focus by looking at the focus ring instead of through the viewfinder).

I was so impressed with the fact that I could now use my Nikon glass on the T2i that I initially overlooked the fact that there was a little bit of play between the lens and the camera body. I ordered two more of the same inexpensive adapters, thanking, screw the expensive ones, these are great! But I got a wakeup call when the next batch arrived. One of them seemed to be fine, but one of them was a loose fit, which allowed the lens to rock back and forth when I turned the aperture dial, throwing the image slightly out of focus and jogging the image. At that point, it was clear to me that the cheap adapters, while they work, are not machined to exacting specifications. While not a big deal for only occasional use, I found this highly annoying with heavy use.

So I shelled out for the next cheapest model, sold by Fotodiox on Amazon for $79. It arrived quickly and much to my surprise, I discovered that it was made from plastic on one side, metal on the other. That worried me at first until I rotated it onto my lens and it snapped into place requiring a reassuring amount of force. The fit was like night and day from the all-metal cheaper version. Obviously made to much higher specifications, it holds the lens without any give at all. I can now twist the iris and focus without any fear of slippage.

Because all adapters are a bit of a pain to take on and off of your lenses, it’s a good idea to purchase one for every lens you are planning to use, and simply leave it on all the time. This means buying Canon lens caps for all your Nikon glass (in this business it seems every time you buy something, it means you have to buy yet another thing to support it, followed by yet another thing to carry it in, etc.)

I have not tried the more expensive version from Novoflex, because the $79 Fotodiox model works perfectly for me, and is the one I recommend if you’re shooting video professionally. If you’re only occasionally using Nikon glass on your Canon, buy three of the $9.99 adapters, try them all out when they arrive, and throw away the two that fit the least well.

Until yesterday, I had 6 Lacie hard drives spinning on my desktop. They have worked fast and flawless for my video storage and editing needs. But there’s one big problem: if (when) one of them fails, data on that drive will be toast. I DO occasionally back up my most critical footage from one drive to another, but that’s a horrible backup strategy. I’ve known that I need to resolve this data storage issue for a long time. So when I was in Vancouver last week at his workshop, I asked Larry Jordan what he recommended for storing a lot of video files safely. He recommended products from four companies: Dulce Systems, Caldigit, Gtech and Drobo.

After researching all of them, I picked the Drobo Pro. Here’s why:

1. I can use ALL of my existing hard drives in the Drobo. It’s sleek black box accepts up to 8 SATA hard drives of ANY size or rpm (yes, that means you can mix and match and if you run out of space, simply pull out a smaller drive and pop in a bigger one). Many of the other systems require all the same type of hard drive, which would mean buying a whole bunch of expensive new drives in addition to the raid enclosure.
2. The Drobo Pro offers an iscsi connection (in addition to firewire 800) which promises theoretical transfer speeds of up to 100 mbps using a regular ethernet cable between my computer and the Drobo. Since I’m planning to purchase an iMac 27″ as my main editing workstation soon, that’s the fastest data connection I could hope for with the iMac, since there’s no way to add expansion cards (such as eSata) to the iMac.
3. Several of the video editors at the workshop in Vancouver mentioned they were using Drobo products and liked them, and Larry Jordan also repeatedly mentioned Drobo during the workshop, although he added a caveat that he had not personally tested the Drobo Pro (but was planning to soon).
4. Drobo has won a bunch of awards.

Before purchasing the unit, I noticed a few negative comments on B&H suggesting that the iscsi connection wasn’t living up to it’s billing, instead producing slow transfers that rarely exceeded 20mbps. But many others raved about it, so I overlooked the naysayer and placed my order. Possibly a mistake, as I later discovered.

The unit arrived yesterday in pristine Apple-inspired packaging. The inside of the cardboard box was actually painted black! And the unit itself was neatly wrapped in branded black cloth. Lovely. B&H included a free 1TB hard drive for purchasing it from them, which I promptly shoved into one of the slots backwards. I should have read the directions, which are literally as simple as 1-2-3. I next added a 2tb drive which I had ordered previously from Otherworld Computing (note that the unit requires TWO empty hard drives to start up the first time).

After installing the included software, the Drobo finally appeared on my desktop. The simple setup process requires nothing more complex that naming the drive and clicking a few buttons. It couldn’t have been easier. Props to the team at Drobo for making a truly hassle-free install.

OK time to see how fast this puppy can move data. I selected the contents of one of my hard drives and dragged it to the drobo. It was about 700 gigabytes. It copied in about 4 hours. Not bad. After that, I took the drive that had just finished copying out of its enclosure, and added it to the Drobo. It did a little light dance and suddenly there was almost another 1TB space available (drives are automatically formatted when you install them). Sweet.

Then I dragged over the contents of another 800 or so gigabyte drive. This time, the progress bar said “26 hours remaining.” Hmm. Not so good. I was headed out the door to dinner, so I just let it run, thinking maybe it would speed up. When I got home at 2 am, I checked on the drive, and it showed 22 hours remaining. Yikes. I went to bed and woke up this morning and it was still churning away with like 16 hours remaining. I did the math and figured out it was copying data at approximately 15mbps. Horrible. Time to go to plan B.

I cancelled the copy, and unmounted the Drobo. I disconnected the ethernet cable and replaced it with a firewire 800 cable, and then powered the machine back up. It took a few minutes, but finally it mounted on the desktop. However, a few seconds later it disappeared and the “disk improperly put away” error message appeared. Huh? The red power light had also come on. A glance at the manual revealed that red power light means the unit has overheated. I didn’t think that was possible, having just powered it up, but I followed their instructions – disconnect powercable, wait a few minutes, and reboot. I also connected the firewire cable to the second port on the Drobo. This time when it mounted it stayed mounted.

I dragged over the same stack of files and now the copy time was 4 hours. Much better. As the files were copying, I read in the manual that you can daisy chain firewire devices via the drobo (there are two firewire ports for this purpose). So while the files are copying, I plug in 4 daisy chained hard drives into the extra port. The Drobo didn’t like that at all. The drive lights flashed, then went blank. The red power light came on. And my Mac froze up, eventually forcing me to do a hard force quit by pressing the power button. I hate that.

After rebooting both my machine and the Drobo, everything mounted OK, including the daisy chained drives. Then, I started the copy again. Only this time I noticed it was nearly twice as slow. It was going to take 7 hours. What’s up with that? Apparently Drobo slows way down when you chain Firewire 800 drives to it (and no, I didn’t use any firewire 400 cables anywhere in the mix, so that’s not the reason). So I unmounted the Drobo, unplugged the chained drives, and rebooted, then re-inated the fire copy. The speed this time was back to 4 hours.

I created an account on the Drobo support site (you have to provide your serial number to create the account and get support) and sent a message to support asking for help to troubleshoot the slow iscsi issue. It’s a Saturday, so I doubt I’ll hear from anyone till Monday, but might as well try it just in case.

First impressions: mixed. The ease of setup and ability to use any kind of drive is fantastic. And I’ll be sleeping a lot better knowing my data is protected. But the slow iscsi connection has me worried, especially after seeing the comments from some other users that iscsi runs slow for them too. At least I’m able to get decent firewire 800 transfer speeds, as long as I don’t try to daisy chain it with other drives. I really wish this unit included an eSata port, but even that wouldn’t help me when I switch to the iMac. Mostly, I’m just bummed the iscsi isn’t delivering on it’s performance promise. But I’ll reserve judgment until I hear from tech support and I’ll update this post when I find out what’s up.
Update 5: OK, this is my last word on this: The supposedly amazing iscsi interface simply doesn’t work. It’s not at all ready for prime time, and I’m surprised Drobo shipped it with this product. So if you buy this unit, don’t expect to get faster transfers than the firewire 800 is capable of, which in my configuration is about 35-50 mbps. Drobo support isn’t very good – they send these silly automated emails that say, before even acknowledging you as a person, “we’ll assume that your problem is solved if we don’t hear from you within 48 hours.” Never mind that some of us have films we’re in the middle of producing, lives to live, etc., and on top of that we now have to follow Drobo’s schedule to try and figure out how to make their stuff do what they says it will do, only, it doesn’t. Lame.
Update 4: The problem is back. It randomly worked fine for two days, but today when I test with AJA System Test, I’m getting only 11 Mb/s file transfers. This is really lame. I’ve reopened my support ticket, and I’m wondering whether iscsi is actually ready for prime time.

Update 3: Drobo support asked me to generate a diagnostic file, and submit it to them. I figured I should probably have the plodding iscsi hooked up when I did this, so I restarted drobo and hooked it up. But low and behold, when I did that, the problem vanished, and I’m seeing decent iscsi transfers of between 50 Mb/s and 80 Mb/s. I’ve tested it throughout the day, restarting three times, and it’s still working by end of today. I’m crossing my fingers that it stays working this time…

Update 2: Unfortunately, the fix that had been working stopped working less than an hour later. So I tried to send a message on the old ticket, and got a reply that it had been closed. I created a new ticket this morning, informing them that speed over ISCSI was down to 11 Mb/s. Then I left to go on a shoot that lasted all day. I got back this evening, and find an email from tech support telling me that they’ve reopened my old ticket, and I’ll need to resubmit my request for support on that old ticket. OK. Going to do that now…

Update 1: I received an email reply from Drobo tech support on Monday shortly after noon. Following these steps corrected my problem, and I’m now measuring screaming-fast 85 mbps data throughput to the Drobo using iscsi. Whoo hoo! One minor gripe: There is a button in the Drobo Dashboard that says “check for updates.” I had previously checked that, and it reported no new software updates, even though there was, in fact, a new update. Seems a bit odd that I had to go through this convoluted process to update to the latest version of their dashboard. But I’m thrilled with the results.

I would like you to update your Dashboard to 1.6.8

In a browser, go to www.drobo.com/support/updates.
Download the latest version (e.g., 1.6.7 or later) of Drobo Dashboard for Macs, the one you want to install. Take note of where the file is located
Put your Drobo in standby mode. Or shut down your DroboPro. (Alternatively, you can shut down your Mac.)
When the power light has turned orange (Drobo) or otherwise turned off, disconnect the data cable (USB, FireWire, eSATA or iSCSI) from your Drobo storage device to your computer. (Turn your Mac back on if it is not powered up.)
If Drobo Dashboard launches, close it completely by clicking on the red X in the upper left-hand corner of the window that displays the pie chart, then click on “Drobo Dashboard” in the upper left-hand corner of your screen and select “Quit.”
Go to the Drobo Dashboard installer (e.g., ddinstaller_19930_1.5.1.app). This is normally in Applications/Drobo Dashboard. Double-click the installer file and follow the on-screen process.
Accept the license agreement.
After you accept the License Agreement, in the next screen, select “Uninstall” from the drop-down menu.
Follow the on-screen instructions to uninstall the Drobo Dashboard application.
In your Mac HD Applications Folder, delete the Drobo Dashboard folder by dragging it to the Trash.
Empty Trash.
Restart your computer.
Double-click the .dmg file you saved from steps 1 and 2 to install Drobo Dashboard.
Choose the “Register Later” option when asked.
When prompted to eject any mounted Drobo volumes, simply select Continue.
When prompted with “You may now reconnect,” simply Continue again.
Quit.
When Drobo Dashboard says, “Ready For Connection,” connect your data cable (USB, FireWire, eSATA or iSCSI). For Drobo S, DroboPro or DroboElite, also flip the power toggle switch in the back of the unit.

The hardest thing for me to let go of in making the leap from still photography to cinematography has been the shutter speed. Losing the ability to dial that in is like losing a limb. On the one hand, you have aperture size. On the other, you have shutter speed. When you open the aperture, you increase the shutter speed. Everybody’s happy.

With cinematography, you basically get one shutter speed. Ever. Period. That’s the speed that is half your frame rate-assuming you’re going for a film look. This means that if you’re shooting at 24 frames a second, your shutter speed is always going to be set at 48th of a second (or the closest DSLR equivalent, which in the case of my Canon T2i, is 50th of a second). Yeah, I know that you CAN go all Saving Private Ryan and shoot at a faster shutter, but it’s a special effect. You can’t reach for it very often unless you’re James Longly.

So, how CAN you control light? How can you use a nice shallow depth of field in bright lighting situations when you’re stuck with what, to still photographers, is a ridiculously slow shutter speed? You COULD adjust your ISO. But that bottoms out pretty fast. On my T2i, the slowest ISO I can set is 200. If you’re in any kind of sunlight, you’ll be bumping against the slowest ISO you can set, and begging for more.

Cinematographers have solved this problem a long time ago by using something I never once used in all my years a professional photojournalist: neutral density filters. When the sun comes out, the big fat matte box appears on the front of your lens, and starts getting loaded with darkened pieces of glass. They don’t affect anything about the light except intensity – that is, they do essentially what using a faster shutter speed used to do for you (without the motion-stopping side effects).

That’s all great, except for one thing. Using ND, as it’s called, is a pain in the ass. They generally come in 4″x4″ sheets, and require a matte box that costs more than your camera to work. Then you gotta carry around a bunch of them. Then when the light changes you have to swap them out and so on.

Before I continue, I want to raise a second former-photographer gripe about DSLR cinematography. My old Nikon glass is awesome, and works great on my Canon with a $10 adapter I bought on ebay. It’s manual focus, perfect since autofocus essentially doesn’t work on DSLRs when shooting video. But when I dial the aperture, each stop clicks audibly into place. And even if sound weren’t an issue, the sudden full-stop clicks make it impossible to smoothly dial in an aperture, like you can on professional video cameras, which have a continuous smooth iris ring. So we’ve got two serious problems that suck pretty bad. Wouldn’t it be cool if you could regain some of the control you gave up with the shutter dial AND fix the aperture click issue by adding one small piece of gear to your kit?

Enter “The Fader.” After using it for just one day of shooting, I call it something else: The Holy Grail. It’s a filter that looks a lot like a polarizer, with two rotating panes of glass. Only when you rotate it, it gets darker. A LOT darker. In cineamatography terms, it goes from ND 2 to ND 400. Wow. That’s hardly anything to almost complete darkness. And it does it smooooooothly as you can rotate it. See why this is so cool? Because it allows you to set an aperture, say 2.8, and when the sun comes out, you just twist the dial, like you would twist the aperture ring on a video camera, to chill down the exposure to something perfect.

In practice, it’s best to do this between takes. But the fact is, I actually was able to dial in the exposure while rolling using this instantly indispensable tool. It’s got nice grooved edges that make it easy to smoothly twist, and it’s MUCH easier to adjust on the fly than cranking on the clanking aperture ring of my Nikons.

I already feel naked without one of these on the front of my lens. I like these so much, I’m buying one for each of my primes (20mm, 35mm and 50mm). I plan to leave it permanently on the front of each lens (except when I absolutely need every stop out of the lenses when shooting in low light).

Thanks to Ryan Bilsborough-Koo for turning me onto this crazy-sexy device on his outstanding DSLR Cinematography Guide.