I picked up the Sony NEX-VG10 because it has more of an all-inclusive video camera design than going the DSLR route (Canon 7D, 60D, 550D, etc.). However, as I started using the camera I decided that a shoulder rig would add a lot of functionality to the system to stabilize the camera and to shoot in different situations (and I’ll admit so some gear lust driving my purchase decision). I opted for the Jag35 system because they offer rigs at affordable prices for people in my buying group: folks who are getting into Indy film production but don’t have a huge budget. I decided on the Field Runner because it’s under 300 USD and came with a free handle when I ordered it. I also picked up a tripod baseplate to quickly go from tripod to shoulder mount on shoots.

Shooting with the Field Runner

The Field Runner is fun to shoot with, and that’s an important point. I use the Field Runner with the NEX 18-200mm autofocus lens or something wide like the Sigma 20mm f/1.8 or a Minolta 20mm f/2.8 and stay mobile. Since the NEX is autofocus I don’t yet worry about pulling focus and haven’t added a focus follow to my camera kit just yet. With the 20mm lenses I set the aperture and manual focus as desired. I can then shoot with the rig on my shoulder, or down low from my hip. I’m currently using the Field Runner without any counter weight on the back since the VG10 is pretty light the counter weight isn’t such an issue, but I’ll probably add one in the future to stabilize the system.

On the shoulder the VG10 is very nicely stabilized, and is much better than shooting in the classic Handycam method of just holding the camera in your right hand and putting it up to your face like a tourist or last-rate pornographer. With the Field Runner the VG10 becomes a part of my body. It moves with me, rotates with my torso and feels connected to my center of gravity. In short, it does exactly what I was hoping for when I ordered it. The VG10 now sort of feels naked without the rig. I can imagine shooting without it, but don’t see the point. It’s also nice to cradle the rig in my right arm and hold it to my body, with my left hand on the front handle. I also often shoot from my hip. To do this I make the front handle parallel to the rig and hold that handle with my left hand while holding the raised handle with my right hand and then rest the shoulder pad on my hip and then pan with my body. This is a very secure was to do a low pan when needed and is very comfortable.

Mobility

I like to be mobile as a film maker or photographer (or painter for that matter). I like gear that easily moves me and packs up quickly. I can easily pack up the Field Runner with my VG10 and an assortment of lenses into my Think Tank Airport Acceleration and go without any issues. When on location the Field Runner assembles in a few seconds and I’m ready to shoot. With the optional tripod plate I can mount the rigged camera on my Manfrotto 501HDV fluid head and quickly switch from tripod to hand-held in mere seconds. I just need to swing out the front handles to allow the rig to slide onto the 501 head, but since the handles are locked down with simple twist knobs, this is very easy to do. Then when I go from tripod to shoulder it just takes a second to swing the handle back into position and lock it down and I’m ready to shoot again.

Design Issues

These are a few design issues I’d like to address that may be serious or totally irrelevant to potential buyers. Overall the Jag35 Field Runner is a good value for the money, but there are some areas of the design that need improvement in my opinion. The most serious is related more to the VG10 design than the rig, which is likely irrelevant with any another than the VG10, but needs to be mentioned. The connection of the VG10 tripod plate to the rig is very insecure, this is the heart of the rig system and should be the most well-designed and quality-controlled part. However, this is a design issue with the VG10, and not the Jag35. Now, this is has to have some context. The Field Runner is designed for a DSLR body, and I’m using it with my VG10, which has a long base like most camcorders do, while DSLR bodies are short and wide. For the VG10 you should have a long attachment area like a Manfrotto video plate, which produces a nice secure contact area on the bottom of the camera. This connection system is offered from IndySystem or Cinevate, where you can screw a long Manfrotto plate onto your camera and then just lock that into the baseplate on the rig.

To compare, I also tried the Jag35 camera plate with my Sony A900 just to see how secure it would be with a DSLR body, and it was totally different from the VG10. With a DSLR body the camera sits securely to the Jag35 base plate. With the VG10 it’s ok for basic shooting, but I don’t have faith in the attachment to my camera to forget about it, and is a primary reason I’m looking at adding an IndySystem camera plate to improve my rig setup. I also think the current design would be greatly improved by using a metal knob (similar to those on the rest of the rig) instead of plastic covered screw on the camera plate, as it would be easier to securely tighten the camera plate to the camera tripod socket.

I also found some minor misalignment issues with the connectors which hold the rods together, but this is a smaller issue and doesn’t affect the performance of the system. When the screws are tightened the rig is rigid and secure, and that is the function of the design that matters most. The optional handle could also be improved. The handle needs a lock-off screw to prevent it from rotating. As it is, the off-center handle can easily torque due to the weight of my camera and twist open when held, which is a basic design fix that should be addressed. For this reason, I always need to hold the rig by two hands to prevent unscrewing and rotation. For a rig of this price point and production volume, these design issues are more or less acceptable, and I’m confident they will be ironed out on future rig releases.

Design Update

Jehu Garcia, one of the people behind Jag35 pointed me to an updated design for the camera mounting plate to address the issue of camera-rig connection. There are two key and very welcome design improvements. First, there are a few screws in the base plate which can be screwed to contact with the bottom of the mounted camera. This then counters the tendency of the camera to loosen from the mounting plate. This addresses the torque loading on the rig-camera connection, which can occur when a follow focus is used. It can happen that reaction forces develop at the rig connection point, and these screws help resist those loads by counteracting the torque. From the design, it looks like the new plate will also improve the issue with the VG10 (and the poorly designed Sony tripod mount). The second modification is a nice big aluminum knob. This will make it much easier to tighten the rig to the tripod socket.

Overall I Like It

I’m a mechanical engineer by profession and a scientist by training, so you would expect I’d find and write about any mechanical design issues that I find with the gear I use. However, I can honestly recommend the Jag35 Field Runner, for the price it’s a great rig for new Indyfilm folks and those on a budget. It will be used by weekend warrior film makers and those who don’t mind a few design short-comings. The price difference between the Jag35 offerings and a similar rig from one of the pro-shops like Zacuto or Redrock Micro is nothing short of amazing, and I’m impressed that they have grown so fast and come so far in the short time Jag35 has been selling gear. They’re releasing a motorized follow focus, and they’re even making it wireless. The innovation and price point of their gear is really impressive. At one point I actually was going to start designing my own rig system and get some custom prototypes made, but once I saw what is coming out of Jag35, Habbycam, and IndySystems, I decided the market doesn’t need another rig maker in this category. Of course, the rig system in my head will be designed to be ultra-light using carbon fiber rods with a structural design optimized using Altair Optistruct, so it’s still possible I’ll do something in the future if I’m motivated enough. However, I’m more into spending my time shooting than rig designing.

One large draw of buying into the Sony NEX system is the ability to adapt many different lenses to the camera bodies. I picked up a VG10 to shoot video, and to use all my medium format, Contax G, and Minolta lenses on a video camera. One of my favorite lenses to shoot with is the Mamiya M645 80mm f/2.8 N, and here are my initial experiences…

Mamiya Background

The 80mm is the standard lens for the Mamiya M645 medium format camera bodies. The Mamiya 645 system has been used extensively by pro shooters for decades, and the equipment was all built to pro standards, making it a quality purchase if found in good condition. The system started out as all manual, but has since evolved into autoexposure, autofocus, and digital with the introduction of the Mamiya 645AF and 645AFD. Since the introduction of the autofocus Mamiya  cameras, the manual focus lenses have lost most of their value to digital shooters, and till recently, really only made sense to use on the older film bodies. However, a few manufacturers make adapters to mount Mamiya and Hasselblad lenses on DSLR bodies. For this reason I picked up a Cirrius adapter on eBay and some cheap used copies of the Mamiya 80mm and 150mm lenses to mount on my Sony A900. However, manual focusing sort of sucks on the A900, in particular if you shoot with old glasses like I do because you spend all your money on camera/video gear, computers, mountaineering trips, and retirement savings. If I had contacts it would be better, but at the moment I can’t accurately manual focus my A900. However, since all NEX cameras have live-view (like the A950 hopefully will have), the system makes an ideal candidate for use with my Hassy and Mamiya lenses.

Mamiya Lenses on the VG10

When used in conjunction with the LA-EA 1 adapter (Sony Alpha to NEX) I’m able to mount the Cirrius Mamiya to Alpha adapter onto my VG10 body, and thereby the Mamiya glass can be adapted to the NEX. The Mamiya lenses are nice candidates for the VG10 because they are compact and have smooth focusing action. When searching out a manual focus lens you want one with a dampened focusing ring. This means the focusing ring moves in a smooth motion, allowing to comfortable attain the correct focus. This is a big selling point of high-end glass like the Zeiss CP.2 compact primes. It should be easy to access the aperture dial as well. The focusing ring on the M645 80mm is prominent and easy to manipulate with the fingers, or for mounting a focus-follow device if desired (haven’t tried this yet on the VG10). The lens has a switch to allow full manual or automatic control modes on an M645 camera. If you put the lens in A-mode the aperture will stay open at f/2.8 no matter what. If you put it in M-mode you can then change the aperture as desired. On the VG10, you have to go into the menu system and turn on the option to allow the camera to shoot without lens attached (this only has to be once). You can now shoot in P or S mode. In P mode the VG10 can adjust ISO (if set to AutoISO) and shutter speed to attain the desired exposure. In S mode you can set the shutter speed and then allow the camera to set the exposure by automatically changing the ISO setting.

80mm Performance

The M645 80mm is a very nice lens, especially for the price you pay on the used market. The colors are great, it’s sharp, has nice bokeh, is compact, is easy to focus, everything you want in a manual focus lens. It could have more aperture stops, but that’s the only fault I see. On the VG10 it acts like a 120mm lens on a 35mm body but it only extends a couple inches from the body, much more compact than mounting my Minolta 85mm f/1.4 beast.

I’ve been shooting video and stills with the 80mm and am very happy with it so far. One video project at the moment is The Formers, a local band from Zurich that I’ve been working with. I took the VG10-80mm combo to their studio to shoot them in rehearsal (video coming soon). This entailed chilling in the room as they played with combined green and orange fluorescent lighting. I was manual focusing on the fly and shooting some stills here and there to sort of give the feeling of the ambiance of the place. I’ve also used the 80mm as a street lens, shooting grafitti, stickers, and flowers on the streets of Darmstadt. The main drawback so far is in the VG10, not the Mamiya.

The main problem with manual focus lenses on the VG10 is focus confirmation. You can focus with the live-view feed off of the LCD screen, but you can’t zoom in like on other cameras to check critical focus before shooting. This makes it difficult to hit the focus point correctly, and really needs to be addressed in a firmware update. Ideally there should be a little area on the LCD which shows a 5-8x zoom of the scene so you can fine-tune your focus. One way to compensate for this is to use your knowledge of hyperfocal distances and shoot at f/5.6 or f/8, and you can then create properly focused images. The Cirrius adapter is also a weak component of the system. The adapter is ok, it mates the Mamiya mount to the Sony Alpha, but there’s some play in the rotation of the lens when mounted, and images are soft when focused to infinity.

Summary

Overall the 80mm Mamiya 645 works very well on the VG10. The adapter from Cirrius isn’t really up to my standards, but it’s the only Mamiya to Alpha adapter I could find. Another option is to buy a Mamiya to Canon/Nikon and then a Canon/Nikon to NEX adapter, but that’s sort of expensive. I’m hoping that Fotodiox will release a Mamiya to NEX adapter in the future, as their Hasselblad to Alpha adapter is awesome and priced at a nice point. Better yet, if Fotodiox releases a tilt-shift Mamiya-NEX adapter I’d be super stoked. I’ve been lusting after a tilt-shift setup from Mirex to use my Mamiya lenses in that fashion, but that’s like almost 400 Euros. The tilt-shift thing would open up some interesting possibilities however, as I could then modify the focal plane as I want in relation to the people or things I’m shooting. Anyways, when you start lusting after more gear you know it’s time to use the stuff you have.

Rumors are starting to abound of an A900 replacement coming in 2011 (I think) – named the mystic A950 with a new 30 megapixel+ sensor and either a SLT or traditional optical viewfinder design. I heard this from a guy who has a brother who has a friend who works at Sony R&D and he read this rumor on SonyAlphaRumors. Having shot the past year or so with my A900, I have an idea of what the A950 does and doesn’t need. I’ve used the A900 for various needs including weddings, studio portraits, documenting the painting process, grafitti shooting, Bratz dolls, Lego animation, etc. The A900 basically rocks, and only needs a few tweaks to be awesome. What are the deal breakers on the A900 replacement?

Live View

First off, live view is a deal-breaker on the A950. Deal Breaker is a word combination that I hate to write or read (I just felt some bile erupt in my innards at the sound in my head). People throw it around on forums everyday and when you look at the crap these people shoot it’s obvious that they only care about writing useless crap on the internet. But, live view is a deal-breaker on the A900 replacement. Why? Simply because live view dramatically increases the usefulness of a digital still camera.

As a stills device the A900 is awesome, but for shooting macro images or with manual focus lenses, the A900 sucks. Yes, it has a nice large viewfinder (for a DSLR), but the cheaper cameras like the NEX5 and every other DSLR now on the market have this very basic feature of previewing the image before it’s made in real time. Getting accurate focus and framing is just more precise on a large LCD than on a large DSLR focusing screen. It’s also nice for framing an image when you have the camera above your head or down low or at a weird angle. Live view is just a great feature if implemented correctly, and it’s a critical feature to have. Live view means precise macro focusing. It means precise focusing with manual lenses. It means the ability to enable remote camera operation from things like iPads, iPhones and computers (although I think Sony also needs to release a decent SDK for this to happen). Live view helps to frame images when your eye can’t be level with the viewfinder. Live view is needed on the A950 - period.

Take note however, Live View and Intelligent Preview should both be there. Intelligent preview is used to make a temporary image which is displayed on the LCD but not saved to the memory card. I love intelligent preview for quickly checking lighting and histograms in the studio. It’s needed because live view is useless for studio photography when external strobes are used. I use intelligent preview all the time in the studio to quickly preview the scene without taking a full image. And yes, it does make a difference, I don’t want to shoot a full-sized real image and have it saved to my memory card just to visualize lighting and to check the exposure histogram. Intelligent Preview is better for images made using strobes. Live view is needed for everything else.

HD Video

Look, yes, I know and appreciate the difference between stills and video. I bought a VG10 because it’s a proper video camera, not a stills camera that needs to be upgraded to a video device. Video is needed, but not in the same sense as live view, and no, putting the 24p 1080HD video option in an A950 will not kill the new CineAlta F3 or NXCAM cameras. The Canon 5D-II and other popular video DSLRs are being used to make movies because no other device is there to fill that niche, which is why Sony released the CineAlta F3 and the new NEX NXCAM. The F3 is for high-end Indy films and professional digital cinema. The NXCAM model is for Pro video, and there’s the VG10 for consumer video. People are not going to be buying the A950 instead of the new high-end video cameras to shoot movies with. People want to shoot video with video cameras, not giant DSLR rigs that look like baby transformers and have horrible moire performance. That’s why Panasonic is selling the AF100, why RED developed the Scarlet and Epic concepts, and why Sony released the VG10 (and will be releasing the Pro-NEX NXCAM). A video capable A900 would be an awesome compliment the my VG10. Video isn’t a deal-breaker in the A950, but it needs to be there.

Non-Crippled Exposure Mode

The A950 needs the ability to autoexpose in aperture or shutter speed priority modes when manual lenses are attached to the camera. With a manual focus lens you only have the option to shoot in full manual exposure mode with the A900. This sucks and is purely a firmware issue that should’ve been fixed years ago (and could be fixed by a new A900 firmware). I should be able to put a lens on the camera, adjust the aperture on the lens, and have the camera choose the shutter speed and ISO for a correct exposure, just like I can on my NEX-VG10. Without this basic function, your ability to use the camera is limited because you have to adjust the shutter to match the aperture you use. Even my old Minolta 7D chooses the correct shutter speed for an ideal exposure with a manual focus lens attached. It’s a very basic feature and should be a function on any camera body. One reason the NEX line is so popular is that people can use whatever lenses they want on their body (with adapters). This adds to the value of the camera, and it should be the same on the A900 replacement. Focus confirmation on manual focus lenses should also exist. Sure you might need to add an electrical interface to the lens, but this is possible with Canon and Nikon and their built-in rangefinder designs. It just makes the camera better. It’s useful when manual focusing with Sony/Zeiss autofocus lenses and as well old manual focus devices, it’s not a must, but would be awesome.

Optical vs. STL Viewfinder

If the STL viewfinder works as well as an optical one does and improves the user experience, then it should be there. Currently, the A33 and A55 do not do this. With the SLT cameras (and with the NEX-VG10) it’s very difficult to use the cameras in the studio with off-camera flashes. The reason is that the electronic viewfinders try to depict the scene according to the manual exposure the photographer sets on the camera, but this of course doesn’t account for the power output of the flashes that will go off when the shutter button is pushed. The resulting live view image is a black screen when I shoot in my studio with the VG10. This makes framing the shot very difficult and is also a rather huge deal-breaker because it severely limits the use of the camera on shoots. I like having an optical viewfinder because I can easily frame the shot (even if the camera isn’t turned on). What I’m hoping is that Sony will develop a dual-system hybrid view-finder, similar to the Fuji compact camera shown at Photokina 2010. Rumors suggest this will be available on the coming NEX7, and would actually make for a very nice addition to the A950 design.

In Summary

So, basically the A900 replacement needs: Live View, HD video and non-crippled manual exposure mode. If there’s a better viewfinder design than the current one that would be great, but it needs to be better than the A33/A55 design. A rangefinder should also be integrated to help manual focusing, but it’s not a deal-breaker.

A900 Firmware Update

Sony has released a firmware update for the A850/A900 which addresses the exposure issue with manual lenses. The update includes the following:

Faster autofocus, extended the range of exposure value (EV) compensation to increased to ±5EV, exposure bracketing range has been increased to a maximum of 6.0EV (-3EV, 0EV, +3EV). The A900 and A850 firmware updates are available on various Sony support websites, including http://support.sony-europe.com/dime/DSLR/dslr.aspx.

The pro version of the VG10 has been announced and is set for a 2011 release. Sony is taking the large sensor video technology concept of the NEX, and packaging it into a camcorder form with Pro features similar to the new F3. The NXCAM will be the competitor to the Panasonic AF100, and fits in between the VG10 and the F3. I was a little under-whelmed when I read about the F3. Not because it isn’t a significant development, it looks like a kickass camera, but is way outside my price range. There will be multiple frame rate options with the F3, XLR audio inputs, 35 Mb/s 1080p video, and the recording bit rate is much better. With an add-on module you’ll be able to capture 50 Mb/s if needed (and it is needed as per the BBC broadcast standard). However, the F3 is a Pro cinema tool with a PL lens mount and a large price tag. You could shoot it yourself, but is the type of camera that works best with a small crew to handle properly. The NXCAM seems designed for a single user to exploit if needed, and is based on the NEX autofocus lens mount. The NXCAM seems to address the majority of the limitations of the VG10, like the need for multiple frame rates, XLR inputs, etc. This is all nice, but is the NXCAM an alternative to the VG10, an evolution of the design, or just some added features?

NEX Advantage

If Sony were just releasing cameras with fixed lenses or the PL mount, it wouldn’t be so exciting. However, one big advantage of the NEX system is that I can use all my Minolta-Sony lenses as well Mamiya, Hasselblad, etc. The fact that the NEX system can take basically every lens ever made is awesome and a valuable feature for film makers. It’s so awesome that I don’t mind over-looking a lot of the design faults on the VG10 body and camera design. This is also why people shoot with DSLR cameras. They’re not ideal video tools, but the ability to experiment with shallow depth of field and different lenses is just to much fun to ignore. Using the correct adapters you can shoot with Nikon, Canon, Zeiss, Contax, Leica, etc. My personal favorite at the moment is shooting with my Mamiya M645 80mm f/2.8 on the VG10. The manual focus Mamiya lenses are cheap, compact, robust, and have wonderful colors and sharpness. If you only want to shoot in manual focus mode, you have a huge range of lenses to choose from at very attractive prices. I’m adding a Contax G adapter for my awesome Zeiss lenses, and probably one for my Contax C/Y 35mm as well. Where the NEX system has an advantage over DSLRs is in autofocus. The VG10 focuses fast enough that you can shoot with it like a normal consumer handycam, but the large sensor makes even mundane flower video look badass semi-artistic. However, is this needed/wanted in a pro device? Carl-Zeiss has the position that manual focus lenses will always trump autofocus in quality, because you know exactly where your focus point is, and the lens isn’t always trying to find and correct that focus point. On the other hand, the almost-ready-to-be-released RED Epic will allow autofocus with Canon and Nikon lenses (with an add-on module). The idea though, will be to autofocus and shoot, but not to continuously autofocus all the time during shooting like the NEX has.

I’ve been shooting with the VG10 for over a month now, and basically love it. But how will the NXCAM compare to the competition? Unlike the Canon 5D-II, the Pro Sony cameras feature a 2K Super 35mm sized sensor that is designed only for video (as I understand it). The Canon cameras have image sensors designed for stills but also do video as an after-thought. The Sony chip output is supposed to output a 1080-sized image, this means great low light capabilities because the sensor is putting out 1080 video, not down-sampling from a 21 megapixel chip (like the Canon does). This means better control of moire, and a large sensor designed (and optimized) for video. If it’s possible to pull a clean frame from the progressive feed off of the video stream, then it’ll make for nice stills as well – but I think this is where the VG10 has an advantage. One reason I like the VG10 is that it’s a true convergence stills-video hybrid device. I can switch between shooting 1080 HD video and 14 megapixel stills in a fraction of a second. I can also shoot with TTL flash or off-camera strobes. Will I be able to do this with the NXCAM (does Sony think I would want to)? The NXCAM will be a Pro video camera with the NEX mount, but probably won’t be ideal as a stills capture device for someone like myself.

I really love switching between stills and video with the VG10, but maybe that’s only because I’m still so new to video. I like the ability to shoot stills because it means I can setup lights and shoot with my remote radio triggers to create lighting scenarios, which are just not realistic without a lot of extra external LED lighting equipment. I think that the release of these cameras will also push lighting technology advancements. It’s clear that a need exists in the Indy-film economy for lower cost and lower power lighting. When you have a sensor with excellent low-light sensitivity, you don’t need to setup a bunch of tungsten lights or large LED panels. I think that companies like iKan and manufacturers from China will start to fill this growing niche.

NEX Evolution

Now that the NEX line is almost fully defined, this means that new lenses are coming in 2011. At the low photo end you have the NEX3/5, with the NEX7 coming in 2011 (the NEX 3/5 were there to assess market desire). At the video end there’s the VG10 and NXCAM. You can’t release kickass bodies without adding some fast prime lenses and high-quality zooms to go with them. 2011 is the start of the real video cinema year. 2011 is the year that the tools become available to more people to tell interesting stories with moving images. For a range of price points you have access to high-quality video, many lens choices, post-processing workflows, and distribution mediums. Don’t get blind-sided by the technology. It’s all still just a collection of tools to tell interesting stories. The Last Air Bender is a great example of a high-level production with horrible storytelling. A 1080p video feed at 50 Mb/s of a brick wall is just as boring as a 640 VGA phone video clip of the same subject.

I had a few hours to chill in Darmstadt and took my Sony NEX-VG10 along and shot with the Mamiya M645 80mm f/2.8 lens. This is the fabulous combination of the latest consumer video technology (the VG10) with an old guard lens of the film days (the Mamiya 80mm f/2.8 N). I didn’t find much graffiti in the city but there are a number of stickers and street art. What’s it like shooting manual focus on the VG10 with an old guard manual focus beast? It could be better, but the Mamiya 80mm is a sweet lens, and now my favorite to take along on the streets with the VG10.