AJA surprised the industry in 2014 when it rolled out its CION digital cinema 4K camera. Although not known as a camera manufacturer, it had been working on this product for over four years. Last year the company offered its Try CION promotion (ended in October), which loaned camera systems to qualified filmmakers. Even though this promotion is over, potential customers with a serious interest can still get extended demos of the camera through their regional AJA sales personnel. It was in this vein that I arranged a two-week loan of a camera unit for this review.
I’m a post guy and don’t typically write camera reviews; however, I’m no stranger to cameras either. I’ve spent a lot of time “shading” cameras (before that position was called a DIT) and have taken my turn as a studio and field camera operator. My interest in doing this review was to test the process. How easy was it to use the camera in actual production and how easy was the post workflow associated with it?
The AJA CION is a 4K digital camera that employs an APS-C CMOS sensor with a global shutter and both infrared-cut and optical low-pass filters. It can shoot in various frame sizes (from 1920×1080 up to 4096×2160) and frame rates (from 23.98 up 120fps). Sensor scaling rather than windowing/cropping is used, which means the lens size related to the image it produces is the same in 4K as in 2K or HD. In other words, a 50mm lens yields the same optical framing in all digital sizes.
The CION records in Apple ProRes (up to ProRes 4444) using a built-in Pak media recorder. Think of this as essentially an AJA KiPro built right into the camera. Since Pak media cards aren’t FAT32 formatted like CF or SD cards used by other cameras, you don’t run into a 4GB file-size limit that would cause clip-spanning. You can also record AJA Raw externally (such as to an AJA KiPro Quad) over 3G-SDI or Thunderbolt. Video is linear without any log encoding schemes; but, there are a number of gamma profiles and color correction presets.
It is designed as an open camera system, using standard connectors for HDMI, BNC, XLR, batteries, lens mounts, and accessories. CION uses a PL lens mount system, because that’s the most open and the best glass comes for that mounting system. When the AJA rep sent me the camera, it came ready to shoot and included a basic camera configuration, plus accessories, including some rods, an Ikan D5w monitor, a Zeiss Compact Prime 28mm lens, 512GB and 256GB solid-state Pak media cards, and a Pak media dock/reader. The only items not included – other than tripod, quick-release base plate, and head, of course – were camera batteries. The camera comes with a standard battery plate, as well as an AC power supply.
Learning the CION
The subject of this mini-doc was a friend of mine, Peter Taylor. He’s a talented luthier who builds and repairs electric and acoustic guitars and basses under his Chellee brand. He also designs and produces a custom line of electric guitar pedals. To pull this off, I partnered with the Valencia College Film Production Technology Program, with whom I’m edited a number of professional feature films and where I teach an annual editing workshop. I worked with Ray Bracero, a budding DP and former graduate of that program who helps there as an instructional assistant. This gave me the rest of the package I needed for the production, including more lenses, a B-camera for the interview, lighting, and sound gear.
Our production schedule was limited with only one day for the interview and B-roll shots in the shop. To augment this material, I added a second day of production with my son, Chris Peters, playing an original track that he composed as an underscore for the interview. Chris is an accomplished session musician and instructor who plays Chellee guitars.
With the stage set, this provided about half a day for Ray and me to get familiar with the CION, plus two days of actual production, all within the same week. If AJA was correct in designing an easy-to-use cinematic camera, then this would be a pretty good test of that concept. Ray had never run a CION before, but was familiar with REDs, Canons, and other camera brands. Picking up the basic CION operation was simple. The menu is easier than other cameras. It uses the same structure as a KiPro, but there’s also an optional remote set-up, if you want a wireless connection to the CION from a laptop.
4K wasn’t warranted for this project, so everything was recorded in 2K (2048×1080) to be used in an HD 2.35:1 sequence (1920×817). This would give me some room to reframe in post. All sync sound shots would be 23.98fps and all B-roll would be in slow motion. The camera permits “overcranking”, meaning we shot at 59.94fps for playback at 23.98fps. The camera can go up to 120fps, but only when recording externally in AJA Raw. To keep it simple on this job, all recording was internal to the Pak media card – ProResHQ for the sync footage and ProRes 422 for the slow motion shots.
The CION is largely a “what you see is what you get” camera. Don’t plan on extensive correction in post. What you see on the monitor is typically what you’ll get, so light and control your production set-up accordingly. It doesn’t have as wide of a dynamic range as an ARRI ALEXA for example. The bottom EI (exposure index) is 320 and that’s pretty much where you want to operate as a sweet spot. This is similar to the original RED One. This means that in bright exteriors, you’ll need filtering to knocking down the light. There’s also not much benefit in running with a high EI. The ALEXA, for instance, looks great at 800, but that setting didn’t seem to help the CION.
Gamma profiles and color temperature settings didn’t really behave like I would have expected from other cameras. With our lighting, I would have expected a white balance of 3200 degrees Kelvin, however 4500 looked right to the eye and was, in fact, correct in post. The various gamma profiles didn’t help with clipping in the same way as Log-C does, so we ultimately stayed with Normal/Expanded. This shifts the midrange down to give you some protection for highlights. Unfortunately with CION, when highlights are clipped or blacks are crushed, that is actually how the signal is being recorded and these areas of the signal are not recoverable. The camera’s low end is very clean and there’s a meaty midrange. We discovered that you cannot monitor the video over SDI while recording 59.94-over-23.98 (slow motion). Fortunately HDMI does maintain a signal. All was good again, once we switched to the HDMI connection.
CION features a number of color correction presets. For Day 1 in the luthier shop, I used the Skin Tones preset. This is a normal color balance, which slightly desaturates the red-orange range, thus yielding more natural flesh tones. On Day 2 for the guitar performance, I switched to the Normal color correction preset. The guitar being played has a red sunburst paint finish and the Skin Tones preset pulled too much of the vibrance out of the guitar. Normal more closely represented what it actually looked like.
During the actual production, Ray used three Zeiss Super Speed Primes (35mm, 50mm, and 85mm) on the CION, plus a zoom on the Canon 5D B-camera. Since the locations were tight, he used an ARRI 650w light with diffusion for a key and bounced a second ARRI 150w light as the back light. The CION permits two channels of high-quality audio input (selectable line, mic, or +48v). I opted to wire straight into the camera, instead of using an external sound recorder. Lav and shotgun mics were directly connected to each channel for the interview. For the guitar performance, the amp was live-mic’ed into an Apogee audio interface (part of Chris’ recording system) and the output of that was patched into the CION at line level.
The real-time interview and performance material was recorded with the CION mounted on a tripod, but all slow motion B-roll shots were handheld. Since the camera had been rigged with a baseplate and rods, Ray opted to use the camera in that configuration instead of taking advantage of the nice shoulder pad on the CION. This gave him an easy grasp of the camera for “Dutch angles” and close working proximity to the subject. Although a bit cumbersome, the light weight of the CION made such quick changes possible.
As an editor, I want a camera to make life easy in post, which brought me to Apple Final Cut Pro X for the finished video. Native ProRes, easy syncing of two-camera interviews, and simple-yet-powerful color correction makes FCPX a no-brainer. We recorded a little over three hours of material – 146 minutes on the CION, 37 minutes on the 5D and 11 minutes on a C500 (for two pick-up shots). All of the CION footage only consumed about 50% of the single 512GB Pak media card. Using the Pak media dock, transfer times were fast. While Pak media isn’t cheap, the cards are very robust and unless you are chewing through tons of 4K, you actually get a decent amount of recording time on them.
I only applied a minor amount of color correction on the CION footage. This was primarily to bring up the midrange due to the Normal/Expanded gamma profile, which naturally makes the recorded shot darker. The footage is very malleable without introducing the type of grain-like sensor noise artifacts that I see with other cameras using a similar amount of correction. Blacks stay true black and clean. Although my intention was not to match the 5D to the CION – I had planned on some stylized correction instead – in the end I matched it anyway, since I only used two shots. Surprisingly, I was able to get a successful match.
The CION achieved the design goals AJA set for it. It is easy to use, ergonomic, and gets you a good image with the least amount of fuss. As with any camera, there are a few items I’d change. For example, the front monitoring connectors are too close to the handle. Occasionally you have to press record twice to make sure you are really recording. There’s venting on the top, which would seem to be an issue if you suddenly got caught in the rain. Overall, I was very happy with the results, but I think AJA still needs to tweak the color science a bit more.
In conjunction with FCPX for post, this camera/NLE combo rivals ARRI’s ALEXA and AMIRA for post production ease and efficiency. No transcoding. No performance hits due to taxing, native, long-GOP media. Proper file names and timecode. A truly professional set-up. At a starting point of $4,995, the AJA CION is a dynamite camera for the serious producer or filmmaker. The image is good and the workflow outstanding.
©2016 Oliver Peters