Video Devices PIX-E5 Record Quality Integrates Perfectly with Sony Cameras in Run-And-Gun Documentary

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Features and Form Factor Prove Essential for Fast-Moving Short Film Project Workflow

Last Updated: August 30, 2016 8:39 pm GMT
(Berlin, Germany--August 30, 2016) Berlin-based cinematographer and Film University Babelsberg student Marco Müller works as director of photography (DP) and as assistant camera (AC) on a variety of commercials and documentaries. His creative imaging portfolio, including his film school projects, can be seen at www.chronotype.de.



A recent short film called "ELA" took Müller to the Polish borderlands. Shot in a mix of documentary and dramatic styles, this improvisational project required an open, flexible way of working, making use of actual locations and local citizens. For the film, run-and-gun and long handheld shots were common. "We needed a reliable and streamlined rig that wouldn't hinder our way of working and slow us down," says Müller.

The Sony PXW-FS7 camera at the center of the rig was perfect for long handheld shots. Video Devices PIX-E5 served as a reliable AC monitor while simultaneously recording 4K ProRes 422 HQ files. Other components of the rig included an Ambient Recording Tiny Lockit for timecode syncing with a Sound Devices 688 mixer/recorder, a Paralinx Triton 1:1 Wireless Video System, and a Sennheiser onboard microphone. The PIX-E5 received the 4K video signal from the FS7 in the SLog3.cine format via HDMI before automatically downscaling to HD.

"We decided to use the PIX-E5 because of its ideal combination of recording and monitoring features," says Müller. "The full HD touchscreen of the PIX makes judging focus much easier, especially with higher recording resolutions, while the quad split feature is an excellent way to check exposure and for color cast, turning the PIX into an excellent AC monitor. Furthermore, the 3D LUT tool is essential in times of ever-present log recording, giving greater confidence for very quickly judging exposure or for communicating the 'look and feel' of the film to the director and crew."

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Pictured: Marco Muller on the set of ELA

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