Disclaimer: This blogpost is based on a sponsored Nikon event 

Even though Nikon started the whole DSLR video thing, they have not really mastered the technology up until now. The Canon 5d, released some months after Nikons D90 2008 release, had much better video performance and got established as a true game changer. And the game has changed. Every pro DSLR is now expected to feature pro video, and the recently released D800 is made with the intent of taking on the Canoninzed videomarket. As some may know I am a Canon shooter, owning 5Ds and lots of lenses. But I still think its important that Nikon release a camera with great video. Since when was competition bad for consumers? And Nikon is the only one of the big 4 (Canon, Sony, Panasonic and Nikon) that doesnt have their own pro-video department to protect.

Design
This is a still camera. Apart from a few dedicated buttons, theres noting on the outside that is giving this away as a camcorder. Thats both good and bad. For a lot of gigs having a low profile is important, and can be the difference between getting the shots and not (news and documentary shooters especially). I wasnt really expecting any huge changes to a design that has been kept for decades, but perhaps a top handle or  batterygrip for video could be a official accessory? But really, with all the rigs and gadgets we already have to make these cameras into moviemakers, its something that we are used to handle.

In use
Having used Canon for the last three years, its a transition suddenly to fumble around in Nikon menus. The dedicated REC button next to the shutter was a bit tricky to memorize (theres several small buttons up there). And to set the audio and headphones level, theres several buttons to push at the same time. But still, the fact that audio/headphones are there, thats whats important. I did not focus on audio quality in my tests, but it would be interesting to see productions finally shooting without seperate audio recording.

The LCD screen is a considerable improvement in my opinion. I was able to rack the focus with little or no doubt of where it was. Its also possible to magnify (to something close to 40x) before recording.  And the AF is actually quite nice on the D800. Pushing the shutter half way (probably customizable to other buttons), the camera quite quickly gets you the correct focus. You cant really use it on take, but its way quicker then I have seen before and makes it possible not to magnify your focusarea ahead of every shot. Theres the option of face-tracking AF and much more, but I cant really get myself to use those functions. Maybe I should…

100% crop at ISO 1600

Image/Technical
I was talking to an actual Nikon engineer during my stay in New York. Its very clear that their goal from their start have been to take on the 5d. Moire, rolling shutter, sharpness and color handling have been areas of attention, and it is better then the 5d. But it isnt really a benchmark to be better than a 4 year old camera. Every camera released in 2012 should be way better than anything released in 2008, in my opinion. Anyway. According to the Nikon engineer, the native ISO of the camera is 100.  I never pushed it beyond 1600 ISO, but 100 or 1600, I didnt see much difference regarding noise. Amazing. You have the possibility of recording externally through a clean HDMI feed, and the feed is 1080p if you dont have cards in the camera (!) and the newest firmware for the Atomos Ninja. Great news, but for 90% of my work, external recording is very troublesome and something I try to avoid. Cameras should record something proper in-camera! Full HD out on recording is still important though, for focus pullng. Its actually the sole reason for us to shoot two seasons of “Dag” on 1d Mark IV instead of the 5d Mark 2.  A very important feature for filmmakers.

The most striking improvement to me is the percieved resolution. Its a more detailed image than the 5dmrk2, and its sharper. I shot with sharpness turned almost all the way down, but still the image retained alot of detail. Highlights are handled much better then other low bandwith codecs (i.e AF101), and the rolling shutter is no longer a major issue. Moire is still there, but frankly, I was expecting the Nikons
monstrous 36 megapixel resolution to have a say in the quality somewhere.

100% crop. Reduced moirè issues.

Summary:
The D800 is a natural evolution of the video DSLRs. It improves on alot of the issues we have on the current generation, but leaves still something to be desired. Which is natural, in the end, Nikon has a roadmap of products to ensure them to make money for many years to come. But I do hope that Nikon has something up its sleeve to challenge the C300 and Canons Cinema line as well. That beeing said, this is a true challenge to the top of the DSLR video throne. I havent tried the 5d mark 3 yet (I only briefly saw Dan Chung`s in New York), but the buzz is that it is no longer the huge gap in quality between Canon and Nikon. Nikon will probably sell alot of these cameras on the megapixel count alone, and many would also buy it for its video. But unlike the early days of the Canon 5d Mark 2, its not a revolution or a game changer. Is a natural evolution.

VIDEO

Me and fellow DoP Pål Bugge Haagenrud got the opportunity yesterday to check out the newest addition to the post-DSLR camera market. The C300 was announced last December in Hollywood (!), targeting the pro/cinema market, with a pro/cinema pricetag. In this review, I will give a short write up on my impressions technically, and also share my thoughts on where this cam positions itself in the market. I only had a couple of hours shooting with it.

Handling
The C300 is a perfect handheld camera. You can control all important settings from you right hand (the handgrip, taken from RED?) and the wheigt is very low (depending on lens choice). The LCD/XLR is mounted on top via the shoemount, and can be removed for cinemastyle work (DoPs and focus pullers not needing sound, and using other monitoring than the onboard LCD), but this will also be handy for some docu/eng style work. Not reading a manual (who does?) it took some time getting used to how you switch between the FUNC button and the ISO/Shutter/WB choices, but every cam has its way.

The long awaited pro-featured large sensor camera from Canon

Lens options/crop:
One of the main things to consider when buying a camera is what lenses it can use. I have been eagerly awaiting a Canon large-sensor, because I have built up a set of Canon L series primes and zooms. While it is possible to mount these on nearly every cam out there, its always fiddly, and the locked aperture makes it unusable for real work. The EF mount version accepts both EF and EF-S lenses, creating quite a lot of options. And if you know your way around eBay, you can get lens adaptors for just about any lens out there, making for some amazing combos. This is a cinema targeted camera, with a S35 sensor on both the PL and EF version. Which means aprox 1.6 crop factor compared to 5d/fullframe. This means that you need high quality wide angle zooms and primes to be able to work as you did with your 5d. This only shows how special the 5d actually is.

A strange sidenote is the fact that C300 does not support AF, while the RED-made Scarlet/Epic does. Again, cinema workers never really use traditional AF, but since this is Canons domain, its a bummer they have not utilized this for all the broadcast people out there wanting AF. For me, its not really a dealbreaker. I have gotten used to MF on Canon glass, and with a very customizeable Peaking option on the C300, im happy.

100% JPG crop of a neon sign. No moire!

Technical/Image
I love the fact that I can use all my 16 and 32gb CF cards straight away into this cam. Media cost is extremely low on the C300 (and extremely high on the RED side). The codec is Canons 50 Mbps broadcast standard XF, which delivers 8-bit 4:2:2. So, still 8-bit, but overall a considerable gain with regards to data-information compared to its competitors (F3 and Af101).  I would like to see 10 bit+ coming to internal recording soon, the fact that its so rare, is very annyoing. Its not hard to do.

The images produced on the C300 are beautiful, flat, sharp HD images. You cant push the background out of focus like the 5d, but then again, only 5d and other fullframe DSLR can do that at the moment. It stands clearly out from AF101 and that I have seen from F3, with regards to sharpness, resolution and highlight/shadow detail.  The addition of the CP-locked mode (Canon Log), is a genius way to remove all worries about what profile to shoot if youre shooting for post. We are delivering all images shot on this test to colorist Dylan Hopkin at Shortcut Norge, so I cant give a definite answer on the results yet, but its very clear (after some trials in Magic Bullet) that this mode has potential.

Shadow detail while shooting into snow..

Video:
This short video consists of quick, mostly ungraded, samples of our 3 hour run with the camera yesterday. We used the CP Locked mode (Canon Log) and shot all day exteriors at the base ISO (850). For the night exteriors, Pål went into the wild zone of 10-20k ISO. Rumors told us this was possible and it was, to some extent. Its difficult to see in the Vimeo file, but 20k ISO is acceptable depending on what your after. Theres noise in the grey zone, but the feel is more organic than noise from DSLRs. I wouldnt do it for feature/cinema work, but for more “rough” situations, this would be great. And, we cant forget what kind of options we have now adays in post. Neat Videos truly amazing noise reduction tool, can get your shots out off all kinds of trouble. Also, note cafe shot looking out. Quite alot of inside detail looking ot of a window. Looking forward to test the dynamic range even further.

Market/Competitors
The strangest thing for me, is how this camera is marketed and priced. This is perfect a HD broadcast camera, for both run&gun and more controlled shooting styles (documentary, ENG, VTs). HD will be the standard in broadcast still for many years, and this camera does it beautifully. Cinema on the other hand, is moving towards a 4k standard. You shouldnt get all hyped up about bits/resolution, but when the price is similar to a 4k camera, Im a bit bewildered. While the images off C300 are great and certainly good enough for a lot of cinema, it has competitors that does 4k and beyond at the same price level (Scarlet fully speced up).  It can and will be used for cinema, but much more for broadcast. And even more if it lost 3-4k$$ of its pricetag. Panasonic Af101 and Sonys F3 would suffer badly, but now they exist comfortably at a much lower price point.

Conclusions:
I dont need 4k right now, mostly because post-workflows are extremely technically demanding and costly. If 4k was no worries in post, I would have given perhaps Scarlet  a second thought, but right now, this is looking to be my HD camera of choice for most productions. It has the flexibility I need to shoot run&gun documentary work, and it has the quality I need for feature/commercial work. I think this is a camera I will use alot in the years ahead, since its hard to believe that Canon will release a C300 competitor in the 5dmrk3. Allthough, that would be nice

Pros:

- Very nice ergonomics
- Great codec
- Groundbreaking ISO possibilites
- Lens choices

Cons:
- Price
- Crop factor (if you are used to fullframe)

CLIENT: NRK
PRODUCER: Eyeworks Dinamo
DIRECTOR: Magnus Rye
CINEMATOGRAPHY: Håvar Karlsen
FOCUS PULLER: Anders Leegaard
GRIP: moviebird.no with Terje Røkke, Morten Magnusson&Pål Bugge Haagenrud.
STAGE/LIGHTS: AVAB-CAC w/Tobias Blåmoli&Hans Petter Jenssen
PYROTECHNICS: Pyro.se w/Per
SOUND DESIGN: Universal sound w/Marius Ytterdal
GRADE: Shortcut Norge w/Dylan Hopkin

Last October, me and Magnus Rye was once again approached by Eyeworks Dinamo to do openings and intros to Norways biggest TV-show, “Melodi Grand Prix”, better known as Eurovision Song Contest. The show was up for a major revamp, and they were about to make it bigger then ever, with inspiration drawn from the Olympics and World Championship. “Larger than life” was the new motto.

CLIENT: NRK
PRODUCER: Eyeworks Dinamo
DIRECTOR: Magnus Rye
CINEMATOGRAPHY: Håvar Karlsen
FOCUS PULLER: Anders Leegaard
GRIP: moviebird.no with Terje Røkke, Morten Magnusson&Pål Bugge Haagenrud.
STAGE/LIGHTS: AVAB-CAC w/Tobias Blåmoli&Hans Petter Jenssen
PYROTECHNICS: Pyro.se w/Per
SOUND DESIGN: Universal sound w/Marius Ytterdal
GRADE: Shortcut Norge w/Dylan Hopkin

We set about pitching ideas, but we and Dinamo immediately fell for the grand opening of several NFL games some years ago. Stuff like this It became clear the stage was set for a major production. Eyeworks Dinamo with Pia, Mari and Magnus, started to make all the preparations necessary, amongst them gathering an orchestra. It wasn’t easy, the shoot scheduled for the last week before christmas. A busy week for most orchestras. We found a willing bunch of musicians at Romerike Symfoniorkester

Pre-production was quite intense, with several other shoots in between. After a while, NRK Promo (NRKs unit for producing marketingspots for shows)came onboard, enabling a unified look for both promotion spots and opening. it also became clear that we needed to shoot with the actual films in the background beeing projected (not greenscreen). This made for a mad dash to gather shots of all the artist that we needed. This was another huge undertaking worth a blogpost in itself. The background plates were shot on Canon 5dmrk2

Technically, it was a decision between Arri Alexa and RED Epic. We needed an high end look and the show is broadcasted (for the first time this year) in HD. We also needed 120 fps for a pyrosequence. I was not aware of the fact that Alexa recently released a new firmware, enabling just that. 120fps! So, it came down to a post-workflow decision. The down-conversion of 5k->1080p would have killed us (working in FCP), so it was in the end an easy decision. I was also eager to try Alexa for the first time. I picked the Angenieux Optimo DP Zoom 16-42 2.8 for the shoot, a great wide angle zoom making the perfect combo with the Technocrane. Onset, I used several TVlogics and the onboard false color to adjust my exposure. I viewed mostly in Rec709 (seeing the blacks properly), and switched to log c mode to check up on my exposure some times.

To get close ups and details of the orchestra, we hired Magnus Owe to shoot with a 5d alongside our crane. Those shots have been really handy in the edit.

Technocrane technician, operator and magician, Terje Røkke. 

The fact that we needed to shoot everything in one day, made our setup-schedule critical. Enter moviebird.no Even though they were in the middle of a hectic tv-season, we managed to secure their 44ft Technocrane, enabling us to shoot all of the pieces (3×2 min) from only 3 positions. Amazing tool, we couldn’t have done this without it. Thanks to Terje Røkke, Morten Magnussen and Pål Bugge Haagenrud.

Lighting and projector.
A big part of this piece was two huge screens showing pictures of artists and beauty-shots of the local area of the venue. It needed to be crisp, and saturated, and match the light output of the “light wall” we were planning. We went into talks with AVAB-CAC early on , and they suggested their brand new Bronco 14k projector would be ideal.

On the lighting fixtures themself, we originally wanted Maxi or Dedobrutes. AVAB, beeing a huge stage light company, didn’t carry that. We ended up with a massive array of 8&4lites, generating a total output of 180.000w. That beeing said, we ended up never powering up much above 24%, giving us a crisp fstop around f4-5.6

Floorplan, ended up not using the 5k chimeras, 180kw backlight made the trick..

Shoot.
The shoot was a massive effort, both logistically and psychologically. We were to organize a 20+ crew to work in one of Norways biggest indoor halls (Norwegian Trade Expo), assemble a huge stage and light setup, and to rehearse and shoot a 40+ orchestra. And for the director and myself, it was important to keep the energy at full speed, even though we repeated so many of the setups. Every shot, every pan, had to be done 3 times, for each of the three backdrop-films. And the third time was just as important as the first. This was a potential energykiller for the orchestra and ourself. That’s one of the reasons we spread the pyro sequences throughout the day, to have something that “refreshed” the shoot. Pyro.se with Per at the buttons delivered beautifully.

Pyrosequence, captured at 120fps

Editing.
We thought early on that the edit would be straight forward, because of the backdrop films “locking” us in with regards to sync. Not so much. It was of course possible to slip and slide backdrop sync, go to fullscreen, or use shots from another “city backdrop”. In short, everything was possible, and mad cred is deserved for Magnus, the director and editor, for exploring all options. The end result is in my opinion extremely tight and thought through.

Grade
I knew right away that I wanted to use Dylan Hopkin on this grade. His immense technical know-how and post-production wizardry guided me alot when it came down to camera choices and settings for the Alexa. The cameras Log-c 4444 ProRes was perfect for the job, gathering our black details beautifully (which we have alot of). Although, I needed some time to adjust my eyes to see the blacks truly black in the grading suite, and not milky as in the raw ProRes. Alot of work was put into getting the blacks unified, with not to much red in them. Our lights was constantly dimming up and down, creating dynamic light cues. But also creating trouble for our look, because every shoot needed new color balance and black adjustment. We have alot of shots… Also, the projectors were daylight and our 8lites have extremely low kelvin values (dimmed below 24%), creating a huge color shift going from projector to fullscreen (some of this quite complicated to explain without having seen the film). This was something that I should have thought of on beforehand. Because we worked into late evening getting the saturation and feel of the backdrops just right. Dylan did an amazing job!. If your interested in his opinions on the matter, check out his blog.

Ungraded vs graded look, a little insight into Alexa Log-c

Havn`t posted anything useful lately, due to major projects ahead. Heres a short list of my activities before Christmas. No bragging, just to let people know I won’t be answering my phone anytime soon.

- Shooting and editing 24 segments for Norwegian Eurovision
- Shooting a major opening sequence for a huge TV – show
- Shooting a opening sequence for another huge TV-show
- Travel to Afghanistan, Dubai and Asjerbasjan shooting VTs for different TV shows
- Shoot VTs for Nobel Peace Price concert.

Sorry, got to go!

Its basicly a brick. A brick with all the important buttons and switches we long for on our DSLRs. It might be odd out of the box, but with all those Redrock/Zacuto/Jag35/Genus rigs (the list goes on and) out there, everyone can handheld this thing their way. On a tripod, its ergonomics is in my opinion excellent. You have the bright, high res screen angled perfectly at you while standing, and all important functions is either on top of the camera or on the usual left side.

Its really puzzling to me why Sony has left so much great qualities from the F3 in the FS100. Its the same large S35 sensor and therefore very similar great low light capability. Sure, the FS100 is only AVCHD, but so is its main competitor (the Panasonic AF101, which is not great in low-light). And the F3 is has only XDCAM EX (35mb/s) onboard, which also makes it unable to capture 50p at 1080p. So, none of these codecs are considered very pro, and they are all actually lower bitrates then what in theory the 5d offers (40-45 mb/s).  I talked to a Sony. rep about this codec issue on the F3, and since the codec was designed for the EX line, 50p in 1080p was not achieved. Manufacturers are throwing cameras out there, in my opinion a bit too soon,  to be able to monetize on the cravings of the DSLR crowd. Sure, you can use external recorders, but then we are back to fixing problems (like audio on DSLRs) that the manufacturer should have done for us.

Do I miss higher bitrate on this camera? I do a lot of run and gun short documentaries. Since the DSLR revolution, the expected visual quality of this kind of work has increased, which is great! The hassle of external audio and monitoring has always kind of payed of when a client is amazed of what you can get out of available light. After my first little tests with this camera, I`m actually certain enough about its qualities that I want to bring it out on an assignment pretty soon. It has  much better low light capability than the AF101 (even though its the same codec). The stock lens is, for the first time I can remember, actually quite good. 18-300 is very usable for docustyle work, and with a couple of adaptors for Nikon/Canon glass (or even Sony Alpha DSLR lenses), you are good to go. The sensor is huge, quite similar to 7d, and therefore you will get the shallow depth everyone is expecting.

Pros
- Its got all the missing knobs and levers youre looking for
- Great placement for assignable buttons (6 on a row!)
- Amazing results from a poor codec
- Very good low light capability, quite a lot of shadow detail.
- 1080p 50p (and soon 60p I hear)
- Very adaptor friendly with regards to lenses (can use many adaptors already in place for the Sony NEX line)
- Great flexiblity on the placement of the hot-shoe adaptors. Mic-mount doubles as hand-grip (if not too heavy lens)

Cons
- Challenging design
- The XLR inputs are spread oddly apart
- Poor codec, but thats more expected in this price range then the F3s

And, yes, thats me on the second last frame. Biting my lips out of maddening uncertainty about achieving focus. Cold too, by the looks of it.

Music by Tyler Ramsey

Thanks to Fotovideo for letting me check out their camera. Looking forward to shoot more with this thing

For those of you who follow my blog, you can see that there hasnt been too many changes to the setup. We are still shooting with 2x 1dMRKIV and still using RedRockMicro support gear . But there is small adjustments to the setup, that is turning out to have a major impact.

The SmallHD DP6-SDI. One word: Amazing. Last year we got some early feedback from the editors (we are shooting on the second floor, whilst the editors are editing on the first) that we had some focus issues. The A-cam is beeing pulled from a 17″ HD monitor (the 1d MRKIV doesnt switch its output to SD, so you can actually pull focus using the HDMI output), but I`m pulling myself, only relying on my onboard monitor. Last season we used the Marshall LCD70P, which was good, but had only 800×600. I couldt tell if I missed the critical eyefocus in some closeups, so the people over at videovillage had to tell me after the take. Then a new take or perhaps a discussion if we had enough in focus and so on; Time lost

With the actual 720p resolution of the SmallHD, I would say I`m able to pull 97% of any take on the first take, and If I miss, I`ll know instantly. The versatility of having both SDI and HDMI cannot be missed. Mostly, we use the SDI out because we route our signal to monitors, sound mixers and recorders (all using SDI), but time and again we are out in the open, 2. unit etc, when the Blackmagic HDMI-SDI converter can be left at home.

The sunhood is amazing. It clips on and stays on! And if you have good eyes, you can push your face so that your head is blocking out any light, even in the desert, mid-day! (shown left). Its like watching the finished thing, while you shoot.

And having continious software updates using a USB stick is also great, I could only wish that the guides (v2) were out already (its in beta as I write), as we shot for a cinemascope crop some weeks ago. But I guess, gaffa tape still needs a a role to play on a film set..

The actors simply loves this kind of setup. A two shot and a close-up at the same time, INSIDE the car. Sometimes the smaller brothers of the 1dMRKIV are called upon to solve a shot.

The issue of constantly breaking HDMI cables in the port of the 1dMRKIV, has been almost solved with the easy fix of a plastic strap. Theres cages for all the Canons this time around, and some (Letus?) have fixed clamp solutions for the HDMI. But they are pretty expensive. The hinge were the neck strap attaches, is positioned just above the HDMI port (look at first pic). We strap the cable in a loop to this with a strap, and we are down to one cable breaking a month, instead of one every 2 days.

Getting the power adaptors (d-tap to 12v) for the Blackmagic HDMI-SDI converters was also smart. They werent out last year, so we made them ourselves. But we suspect poor power for alot of lost signal and interference problems last year. Almost down to zero this year. We also have alot more screw-on NDs and Polarizers from B&W this year, totally eliminating the need for a mattebox in most situations were the the lens isnt flaring.

The pimped out version. You gotta dress up when youre riding on the Flight Head !

Even though we have two complete Redrock packages to make this camera look like any other out there, we try to strip it down to the basics most of the time. We learned last year that what you can do with this camera, that few others can, is putting it anywhere. High, low, under the sink, inside the shelf, inside the glovecompartment of the car, between beer bottles etc. etc. I have a long HDMI cable and a small 15mm rod ready at any time, so I can attach the camera to a griphead on a c-stand, and put it virtually anywhere on the set. And we are getting the cameras so close to the other actor in a dialogue, that people almost start to wonder if the actor is looking into to camera.

Shure, we would love to shoot with 2x Epic or 2x Alexa, or perhaps 2x Canon 5dMRK3 with Raw video ( ). But few of these cameras even exists, let alone are avaliable here in Norway (on our budget!). We could have shot on Panasonic AF101 or Sony F3. But, our Canon Primes would have been 2x the focal lenght (with no aperture control) and the codec isnt really that much better. The 1dMRKIV is, again, the best guy for the job.

We decided to stick with a couple of winning factors. RED, 120 fps and the animal masks (Mostly due to the mexican wrestling masks never made it in time from the US :/). Pretty soon a couple of ideas started to form, and we made a storyboard.

As you can see, I cant draw properly. At all. Also, not all of these shots made it into shooting, or even into the edit. One of the most difficult aspects of shooting 120 fps for a 40 second spot, is timing. Each picture, or frame even, has to have “an inner momentum”. Something that drives the sequence forward, that intercut well with the other, also short, pictures around it, and most importantly, it has to tell something understandable. The pace of the finished edit is also something that very much decides this. We knew we were going for a hectic pace (Inspired by Justices newly released “Civilization”. That tune was also the temp-music for the edit). For instance, theres about 10 frames showing the fox kicking up the door on the rooftop, a shot we used alot of takes to do compact enough. Heres a couple of frames for the production

Scouting on a rooftop near Middelalderparken, Oslo

Thanks to Magnus Owe and Jørgen Werner for the behind the scenes shots!

We went into co-operation with the vfx company called Øyedrops in Oslo. They took care of the entire post process, after Magnus edited the offline (watch it here: oya2011_offline_hkarlsen) in ProRes in FCP. Øyedrops used After Effects from everything from grading to particle generation. Tracking was done in ptrack (?)

Its been really fun as always working with Øya as a client. We get full creative freedom, and its a great opportunity for me and Magnus to showcase some visual ideas, and when we get so many talented people onboard aswell (all working for a full week-pass to Øya2011 only!), we can make things like this come to life!

Shot on RED MX and Red Pro Primes 18 to 100mm. 120 fps sequences shot on a S16 Canon PL 8-65mm (great lens for 2k work on red mx 120fps)

Directed by Magnus Rye
Produced by Anders Pedersen & Magnus Rye
Photography by Håvar Karlsen
B-Foto: Espen Guldbrandsen
Edited by Magnus Rye (additional editing by Steffen Sæther-Larsen)
Costumes & Props by Cecilie Elena G. Hansen
VFX by Mads Hornsletten & Steffen Sæther-Larsen @ Øyedrops
Music by Marius Ergo @ Øyedrops
SFX by Rick Marr @ Electrik Effects
Actors: Julius Vidarssønn Langhoff, Mathias Storm Strøm Stoltenberg, Jesper Herning and Jonas Urstad.
DIT by Magnus Owe
Grip by Andreas Nesse
Lights by Jørgen Werner, Jo Bergersen & Stig Indrebø
Assistant: Bjørnar Kristensen

Shooting with the AF101 in St. Petersburg. Shot by Olav Saltbones

My latest 5d rig. Jag35, SmallHD dp6, Sennheiser MK400, Zoom H4N. Switronix Powerbase 70, Litepanels 1×1 with Globalmediapro V-lock batteries. GREAT!
Backing up my CF and SD cards outside Maseru, Lesotho airport, using the NextoDI NSV2500. Amazing tool

Shooting a concert a day at this years bylarm, with 4x Canon DSLRs. I operated the closeup, with a 500mm f4 on a 1dMRKIV. I got real close…

If youre wondering about how to use rolling shutter to your advantage, look no further then this clip from our bylarm webvideos we created. The opening 30 seconds of this is the very definition of art by accident

Right now I`m preparing for “Dag Season 2″, which starts shooting the last week in march. Using DSLR only, again