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I'm putting together a 35mm adapter rig for my camera, and was wondering what people's recommendations are for a matte box. Are there any brands or models to specifically look for or avoid? I'll be using it with a set of Nikon lenses, and my work is split between nature videography and in-studio filming if that makes a difference.
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Mar 17, 2011 05:10
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SquareDog posted:I was told that the Element Technica Atom rig with Epics is only 45 lbs! How much more with a gimbal and arm I don't know. At indie rentals were due to get 10 epics just as soon as they'll ship them to us (and we're higher on the list). In a side note, were getting two Alexas in a couple weeks as well, so stoked to play with all that gear! Alright so here's a quick collage of the good and the slightly less good in 3D. The 3ality rig has two Epics in it, the problem (and why it's so heavy) is that it's a terribly balanced camera and we needed to add weight to balance it properly. Second problem is that the 3ality system is pretty complex and heavy, thanks to all the electronics that run through it (it weighs around 21 lbs alone!). It's very much an over-engineered system in my opinion. I.e. it tries to do too much and therefore becomes too complex and cumbersome. Though I will admit, the things it does are very clever. On the other hand, the Element Technica rig (here still a prototype) weighs next to nothing. Add to that two SI2K cameras (that also weigh nothing), a simple Preston remote focus system to power the camera movement, and the Cinedeck itself as a monitor, and you have something that weighs almost nothing and doesn't lose much in quality at all! Even with the extra Anton Bauer to power the Cinedeck and the stupidly heavy ARRI baseplate. This is the kind of 3d rig I would gladly shoot with all day! With a big grin on my face too. Running shots, stairs, 18 hour days...all not a problem. Steadiman fucked around with this message at 00:02 on Mar 18, 2011 |
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Mar 17, 2011 23:36
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Do you know Starling?
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Mar 18, 2011 05:18
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ogopogo posted:Do you know Starling? The Vegas Steadicam op? I know him, he's a cool guy.
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Mar 18, 2011 07:44
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Steadiman, any hints on how to balance the Merlin Steadicam with a 7D on it? I cannot get the fucker to balance right.
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Mar 18, 2011 10:35
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ogopogo posted:Do you know Starling? EnsGDT posted:Steadiman, any hints on how to balance the Merlin Steadicam with a 7D on it? I cannot get the fucker to balance right. Other than that, check that you have the camera's center of gravity as much in the middle of the mounting bracket when you attach the camera and then carefully adjust the fore/aft and side to side adjustments to get it to hang level. You can find, or get really close to the camera's CG, by getting a rod or stick (or even pencil) and rolling the camera on top of it. The point where the camera doesn't tip in any direction is the CG. Do this for fore and aft and side to side and mark the rough point where the CG is, that's where you should align the mounting hole of the plate. then fine tune with the balance adjustments on the Merlin after you mount it. Should work. hope that helps.
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Mar 18, 2011 11:46
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Since this is steadicam time, any advice on a steadicam rig for an af100 with something like a nikon 17-50 on it? What would you buy to be easy to set up and reliable, but trying to watch price as much as possible? We have money, we just don't have feature money. Are equipment is well used in challenging situations so it has to be sturdy.
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Mar 18, 2011 18:10
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Walnut Crunch posted:Since this is steadicam time, any advice on a steadicam rig for an af100 with something like a nikon 17-50 on it? Maybe look into a Flyer or Zephyr? The AF100 is yet another camera that creates the conundrum: how do you work when your lens weighs way more (or has the potential to weigh more) than yout camera? What is your budget?
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Mar 18, 2011 22:05
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SquareDog posted:I was told that the Element Technica Atom rig with Epics is only 45 lbs! How much more with a gimbal and arm I don't know. At indie rentals were due to get 10 epics just as soon as they'll ship them to us (and we're higher on the list). In a side note, were getting two Alexas in a couple weeks as well, so stoked to play with all that gear! What are the chances I can come by and play with them? Don't need to take them outside, but I'd love to get one on my sled and fly it around the house a bit. Also, if you have an AJA HA5, that'd kill two birds with one stone. I'll buy you lunch and a brew!
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Mar 19, 2011 00:15
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Tiresias posted:Maybe look into a Flyer or Zephyr? The AF100 is yet another camera that creates the conundrum: how do you work when your lens weighs way more (or has the potential to weigh more) than yout camera? Don't have a budget yet. Consider our camera. 5k for the camera instead of 20k plus. Miller tripod with compass head 1.5k So that's the kind of range we are in.
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Mar 19, 2011 02:08
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Tiresias posted:What are the chances I can come by and play with them? Don't need to take them outside, but I'd love to get one on my sled and fly it around the house a bit. Also, if you have an AJA HA5, that'd kill two birds with one stone. I'll buy you lunch and a brew! We do have HA5's. Just call the shop and ask about getting a demo! I usually do them anyway. EnsGDT posted:Steadiman, any hints on how to balance the Merlin Steadicam with a 7D on it? I cannot get the fucker to balance right. My advice is to throw it in the trash and hire Steadiman.  It can take a lot of fiddling with to get it to balance perfectly and you can't use a lens that's too large or heavy and certainly can't use a matte box or follow focus on it. Even if you do get it to balance perfectly you still need a professional seadicam operator to guarantee getting anything high quality out of it. And at that point you should just ditch the merlin and rent whatever the steadicam operator already owns. Sorry, I really hate the Merlin. 
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Mar 19, 2011 02:44
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Steadiman posted:Exactly what is the problem? It is a heavy camera so it's very likely that you need more weight at the bottom of the Merlin to get it to be bottom heavy. You always want the Steadicam to be slightly bottom heavy so it returns to neutral if you're offlevel. If it's too light at the bottom, or top-heavy, then it will be also impossible to balance because any adjustments you make at the top will be negated by the fact that it wants to tip over on you. It was definitely top heavy but thanks to your sage and wise advice I got it balanced out! Thanks man. My DP and I thank you. SquareDog posted:My advice is to throw it in the trash and hire Steadiman. Alas I am but the 2nd AC on a graduate thesis film and thusly have very little say haha. I kinda hate the Merlin myself right now though if it helps.
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Mar 19, 2011 02:56
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Steadiman posted:If you're talking about Robert, yes. I've known him for many years. Once took a very scary ride down a mountain with him in his Hummer. Cool. I assist for him every now and then and I swear he's shown me a picture of you somewhere. Thought you looked familiar. The hummer is a beast.
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Mar 19, 2011 20:50
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Hey Steadiman do you know Michael Heathcote? Also how angry does this picture make you? (stolen from a friends facebook)  From other pictures, yes he was grabbing it from the post
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Mar 22, 2011 04:55
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Walnut Crunch posted:Since this is steadicam time, any advice on a steadicam rig for an af100 with something like a nikon 17-50 on it? What would you buy to be easy to set up and reliable, but trying to watch price as much as possible? SquareDog posted:We do have HA5's. Just call the shop and ask about getting a demo! I usually do them anyway.  Also, the Merlin is tricky but there's no reason to hate. It's the most efficient way to do this cheap. It's difficult to operate because the light rigs have no mass just by their nature (same as light cameras) so the smaller rigs are actually more difficult to operate than the big rigs. Makes for very good practice. If you can control the little one, the big ones will be easier! EnsGDT posted:It was definitely top heavy but thanks to your sage and wise advice I got it balanced out! Thanks man. My DP and I thank you. ogopogo posted:Cool. I assist for him every now and then and I swear he's shown me a picture of you somewhere. Thought you looked familiar. Mozzie posted:Hey Steadiman do you know Michael Heathcote? Also, found this picture of the 2 Alexa rig on Hugo Cabrez. Notice the Segway/Handsfree, Larry McConkey (the operator) insisted on using this instead of carrying the rig physically, because otherwise he simply would not physically be able to carry the rig for the whole day. I think he spends 80% of the shoot on the Handsfree and would only carry it himself if the Handsfree didn't fit in the room he had. It was a heavy shoot!
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Mar 22, 2011 13:29
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What is a good beginner digital camera in the 2k range (used)? Is there a preferred site or forums classified for finding such a device? I apologize if this is out of place, this thread seemed to be the closest suited to answering such a question. My wife is interested in getting back into filming as a hobby.
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Mar 22, 2011 17:14
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It would appear that the tide has come in. Hm...
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Mar 23, 2011 14:28
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Mozzie posted:Hey Steadiman do you know Michael Heathcote? You must be in Toronto, haha. I know people that have worked with Michael. Pretty hilarious picture, but it looks like possibly a low budget music video.
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Mar 23, 2011 18:47
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exp0n fucked around with this message at 08:32 on Dec 20, 2014 |
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Mar 23, 2011 19:01
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exponentory posted:How heavy are the Alexas? Do you work with Larry often? He's done some insanely good work... Larry? Pshaw, who's ever heard of that guy!? What, has he worked with Scorcese before or something? From the Alexa manual: - ALEXA camera body + SxS Module: 6.3 Kg/13.8 lbs - ALEXA camera body + EVF-1 + Viewfinder Mounting Bracket VMB-1 + viewfinder cable + SxS Module + Center Camera Handle CCH-1: 7.7 Kg/16.9 lbs Steadiman: that's an awfully short post for an Ultra 2 flying a a 3D rig. :P Larry truly is a magic man. I still love watching his explanation of that shot from "Raising Cain".
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Mar 23, 2011 20:53
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exp0n fucked around with this message at 01:00 on Nov 30, 2014 |
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Mar 23, 2011 21:39
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exponentory posted:How heavy are the Alexas? Do you work with Larry often? He's done some insanely good work... . There's a wonderful story of when he was shooting a film with Julia Roberts in India and, on his 60th birthday, they surprised him in the middle of a big shot when Julia stood up and started singing "Happy Birthday" to him with all the extras. Since Larry is such a humble guy, he didn't realize it was for him and just kept right on shooting, slightly annoyed at this unrehearsed turn of events.Tiresias posted:Steadiman: that's an awfully short post for an Ultra 2 flying a a 3D rig. :P Larry truly is a magic man. I still love watching his explanation of that shot from "Raising Cain". exponentory posted:The way he had the characters pull her in the right direction to keep the shot going is hilarious and brilliant
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Mar 23, 2011 22:19
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Hey Steadiman, good to see you're still alive somewhere. Where you abouts these days?
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Mar 24, 2011 11:46
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Hey guys, My Thesis film is done with its film fest circuit and is now available to view online. check out my thread on it in Cinema Discussio and say something lovely. http://forums.somethingawful.com/showthread.php?threadid=3399423
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Mar 24, 2011 11:48
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Alan Smithee posted:Hey Steadiman, good to see you're still alive somewhere. Where you abouts these days? SquareDog posted:Hey guys, My Thesis film is done with its film fest circuit and is now available to view online. check out my thread on it in Cinema Discussio and say something lovely. . I hope it'll open many doors for you.
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Mar 24, 2011 19:55
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Steadiman posted:Yeah things have been hectic. I'm on the eastcoast right now, leaving for LA tomorrow to do Lake Arrowhead and some other stuff. Hope the sun will be out by the time I get there, I'm so done with the cold! Ah sweet, Let me know when you're in town. You still owe me a cookie shake!
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Mar 24, 2011 23:51
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Steadiman posted:Yeah things have been hectic. I'm on the eastcoast right now, leaving for LA tomorrow to do Lake Arrowhead and some other stuff. I'll see you Monday night for Op night.
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Mar 25, 2011 02:39
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Phew, had a 16 hour shoot yesterday but went really well (aside from rear end in a top hat sound guy). One of the guys helping us had a 5D he wasn't planning on using that day, plus a really nice 70-200 zoom lens, so I threw my HVX on sticks and ran around handheld with the 5D to film a rap battle, a dance battle, and a 3-hour concert with rappers, rock bands and dance groups. I got in front of stage, behind stage, in the crowd, everywhere. It was my first time shooting with a DSLR and I know there was a ton of shake in my footage (especially with that lens and the battery pack, that thing was HEAVY), but I think it was definitely some of the best-looking stuff I've ever shot. The body design and weight of the camera really lend themselves to canted and alternate framings, and the lens allowed me to get really up close & personal with the artists, even if it was only a couple seconds at a time. My buddy had a wide angle on his 7D so he got the wides from the front of the stage and we had the HVX in the back doing medium shots & pans, so I was pretty free to get loose & crazy with my shots. I can't wait to get a copy of the footage and start scrubbing through and see how it turned out. I definitely saw why a lot of people have issues with the focus, though, it's very hard to keep a shot in focus for more than a second or so, especially fully zoomed. And that sound guy... ugh. He gave me attitude all day, even though we asked him if we could get a sound feed the night before during rehearsal, which he never set up. Then at the end of the show (due to bad scheduling we ran out of footage an hour before the show ended), he says he can't unplug my sound cable during the performance, so I have to sit there for an hour waiting for it to finish, then get up and check - he'd unplugged it a long time ago and never said anything. What a complete rear end.
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Mar 27, 2011 17:25
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So, I am ready to get laughed and made fun of for this. I just bought my first little lighting kit. Smith Victor 700-G 600w quartz halogen lamps. I set it up and turned it on. One minute later, the bulb shattered to hell and shards flew all over the place. Fortunately I didn't get hurt even though I hadn't attached the safety glass yet. What the hell did I do wrong?
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Mar 29, 2011 19:16
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Did you touch the bulb?
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Mar 29, 2011 19:38
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I don't think so. I might have mistakenly. Is that the most likely reason?
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Mar 29, 2011 19:47
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International voltage differences can make bulbs shatter, maybe you got the wrong bulb for your country/voltage?
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Mar 29, 2011 20:38
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Steadiman posted:Yeah things have been hectic. I'm on the eastcoast right now, leaving for LA tomorrow to do Lake Arrowhead and some other stuff. Hope the sun will be out by the time I get there, I'm so done with the cold! BTW Steadiman, give me a call when you get a chance, you have my number
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Mar 30, 2011 19:24
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the Bunt posted:So, I am ready to get laughed and made fun of for this. I just bought my first little lighting kit. Smith Victor 700-G 600w quartz halogen lamps. I set it up and turned it on. One minute later, the bulb shattered to hell and shards flew all over the place. Fortunately I didn't get hurt even though I hadn't attached the safety glass yet. I'm pretty sure the reason this happened is cuz of my fingerprints. Oh well, but now my problem is is I can't get the remnants of the bulb out of the housing.
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Mar 30, 2011 23:53
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Use pliers if you can get them, either clamp around the outside of the bulb screw, get some leverage & twist, or push them inside the bulb shell and spread them open to get leverage.
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Mar 31, 2011 07:04
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I'm not sure if this should go in this thread but I'm shooting a short film that involves a scene in sort of largish room and I want the lighting to sort of be dimmed / have a hazy effect kind of like this apartment in Enter The Void http://www.youtube.com/watch?v=GCNrIStejEU&hd=1#t=1m05s I'm shooting on a Panasonic AG-DVX100B The light kit my school has available are one of these http://bit.ly/f1dRj8 and also three of these http://bit.ly/fiVADF So any tips or guidance on how to get that dim/hazy look on digital would be appreciated.
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Mar 31, 2011 21:45
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Peacebone posted:I'm not sure if this should go in this thread but I'm shooting a short film that involves a scene in sort of largish room and I want the lighting to sort of be dimmed / have a hazy effect kind of like this apartment in Enter The Void I'm still pretty amateur when it comes to lighting too, but it looks like the lights outside the window are gelled to be teal, the white balance set pretty close to tungsten, and then the picture is underexposed. I think they might even be using practicals only inside, I can't tell if there's any lights behind behind the camera. If there are, they're flooded and diffused to hell and back. And those flashing lights are probably just a few gelled lights on a dimmer or flicker box. My school has those light kits too, in addition to some Arri kits. The Lowell's we have are kinda lovely, but that scene seemed like it was supposed to be poorly lit, so depending on how big your room is, you might be able to work it. That's just my semi-educated guess, though, so I'd get a second opinion and maybe do some sort of screen test before you commit to anything just yet. I would also love to hear from someone who actually knows what they're doing.
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Apr 1, 2011 05:48
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Selling my follow focus over here if anyone is interested: http://forums.somethingawful.com/showthread.php?threadid=3125105&pagenumber=47#post390031771
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Apr 4, 2011 03:15
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Can anyone think of examples of work done where the camera is in a fish tank on a water line and it floats back and forth between the two, sort of like this: https://www.youtube.com/watch?v=tiagpXBKt1Q
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Apr 10, 2011 01:07
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EnsGDT posted:Can anyone think of examples of work done where the camera is in a fish tank on a water line and it floats back and forth between the two, sort of like this: Yeah, the Omaha Beach sequence from "Saving Private Ryan".
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Apr 10, 2011 03:47
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