William Demeritt

So I guess it's working via WiFi...

But how does it work with the connection?

Is it a direct connection, so iPhone-Follow Focus? Or do you need a WiFi router on set?

Pretty sure it's a direct connection. They say it's single channel, so most likely 1 transmitter associating to 1 receiver, which sounds like an ad-hoc network (client to client).

I think a lot of the argument over this will be the people who are really strong on rollerblades voicing their confidence that they can do it versus the people who perhaps aren't the best skaters voicing apprehension that anyone is really THAT good.

Perhaps both sides have a point. Why are my own legs and skates any more or less reliable than a Handsfree Transporter in a given situation? Maybe I hit a pebble, or perhaps the transporter can't maneuver around an obstacle as nimbly as I can on skates?

To Mike or other operators who have tried skating while flying, how did you handle finding "the stance" while skating? I've always found the most comfortable position for lockoffs is with feet at an angle, and achieving that while stationary on skates seems easy. However, I would think that after pushing off, if you coast with feet parallel, you're just rolling and the rig is in no position for your legs to hold the weight; just your back.

I'm basically asking how you skate safely while flying the rig? As a soon-to-be owner/operator whose spent more than half of my life on rollerblades, I'm eager to determine how to do this safely, even if I relent using it on set.

I know many people have an iPhone, and that's the first device they'll consider for a transmitter. However, if I were purchasing this system, I'd get an iPod Touch to be the dedicated primary transmitter and the iPhone as a backup. Otherwise, you'll always be paranoid if the phone's radio is in Airplane mode, or if you may get a phone call just at the wrong moment.

The other thread seemed to come to the unanimous conclusion: cool, low cost backup system.

Lars,

WE ACCEPT YOU! ONE OF US! ONE OF US!

Cult chatter aside, welcome to the Mac world. I'm a lifelong computer technology enthusiast, and even worked in Information Technology for a while. Built PC's for a while, then moved to using Macs (currently posting from my homebuilt Hackintosh; PC parts running Mac OS X Snow Leopard). I've also converted many family members and friends over the years.

Just going off my experiences, the people you'll read about (as few as they may be) will encourage antivirus software because they fell victim to one of the few Mac viruses in existence. That's not to say there's only 5 viruses or exploits total. Rather, you compare maybe 280,000+ viruses affecting Windows based PC's against... well, I think January, 2009 was the first occurrence of a true Mac virus.

Doesn't mean Macs are COMPLETELY safe, but many features intrinsic to the architecture and design of OS X makes them more secure. File permissions, user permission and hierarchy and more prevents unauthorized software from gaining access to your system. The people who are recommending you get antivirus software for your Mac? They most likely installed something questionable from online, entered the Administrator password allowing it to run, and suffered the consequences.

My suggestion: save your money (and your precious system resources... Macs are memory hungry), and just be aware of what you're installing/running. Macs do a much better job of alerting you to running programs that are attachments or downloads, and the security risk involved. By nature, the system will only allow so much access to most programs.

Computer geek since 1987

Mac geek since 2004

All around nerd since birth.

Glad to hear it's corrected, Stefano!

I'd like to hear more, please. Thanks!

Stefano,

Quickly researching the HD10MD3, it appears the dip switches can set the output format to either 16:9 or 4:3. User manual says that's DIP #5. Can you verify if it's set to 4:3? Does sound like the CRT monitor is expecting a 4:3 image but it's receiving a 16:9 image, so it's trimming off left and right.

Anyone familiar with how this stacks up with a traditional weight training and cardio regiment? I'm open to adding something new to my overall workout, but I make several visits to LA Fitness a week as it is for strength and mental health reasons.

For that matter, what sort of exercise does everyone do to "stay in shape". I try to focus on compound weight training exercises in specific orders, no muscle confusion (yet). Leg training includes squats, leg presses and lunges.

How often do you have to give him a courtesy "bump" before he shuts down?

I'm not sure if you can conclusively say that's the case, but I did have an experience last weekend on a music video where the RED shut down and I blamed the FF.

Basically, had RED on on Archer2 with a Bartech all powered off the batteries on the sled. On the Steadicam powercubes, I had 2 green lights on one battery and 1 green light on the other, and we had to move fast. So, I figured I had one more take before I'd have to swap batteries. During the shot, though, the DP wanted the follow focus to "pop" in and out of focus, which required a lot of very quick focus racks. Towards the end of the performance, the camera hiccuped and shut down.

I think there's an easy solution for you, though. Request that the RED come with a second battery plate with a D-tap, and use a battery to power specifically the Bartech. Keep camera on it's own battery plate, so it's independent of any voltage drops caused by the FF.

I don't believe that's you, Robert. I don't see a single Vegas showgirl.

Wait, is she taking the picture?

I just received an e-mail from DirectTV and they say they are offering 3 3D channels this year. I also heard of someone going to do a 3D Porno!

 

It is another Fad or the Future?

 

Dan

I think the market usually decides what survives and what doesn't. For now, I think new technology can only be refreshing in a time filled with unnecessary sequels, prequels and remakes/reboots. Perhaps a new way to tell a story will only revitalize storytelling, even if it just results in a return to traditional filmmaking?

I believe that if you agreed to show up to a shoot, it doesn't matter rate, show size, talent, director, dp, ac...whatever, you choose to be there, bring your A game.

Cheers to that, brother. When I'm doing other work on set while not wearing the rig, that's what I remind myself every day. Doesn't matter if it's a full rate, deep discount, favor for a friend, or whatever... I agreed to come work for the day, so they're getting my all. If I feel like I'm being taken advantage of, well that's one thing. However, attitude is everything.

As a newer Steadicam operator, maybe others feel as I do in that the workshops teach you a lot about the technique, craft and art of Steadicam. However, the positive attitude, collaborative spirit, humility and respect for the overall business is something everyone learns for themselves (like reinventing the wheel). To my knowledge, we've got books explaining grip and lighting equipment, cinematography and video, even a textbook on Steadicam... but I've yet to see a book that teaches you how to freelance in this business.

I guess some people make mistakes from which they'll just never recover a lost client, or a lost career?

Mark, out of curiosity, are you saying you currently have £8000 cash available to purchase the rig? Or is that the expected take at the end of your jobs?

The best films are never easy, and they shouldn't be, it wouldn't be fun that way.

Now you sound like a Producer. :P

I'd argue that the best films could also show the filmmakers had the most fun doing it. However, maybe we've spent enough time off subject. I look forward to hearing about your tests and findings/experience.

With all the concerns and issues voiced so far in this thread, I'm actually very interested in seeing what your tests yield. Please be sure to post your progress as you get closer.

Equally, please also post if the producer/director realizes that perhaps they've hit the threshold where their idea has collided with technological capability. I would think the creative team will realize they either must 1) select a different camera to achieve a 110 minute feature, or 2) abandon the 110 minute feature "in a oner" idea.

After all, #1 is breaking some new ground technologically, but #2, one could easily defer to the historical lessons of underperforming films attempting similar "stunts" and, as Jerry said, abandoning the long, richly developed language of cinematic narrative.

I tried enabling cookies in my browser, but still no luck. Shall I send you my postal address?

;)

Please post all allergies in this thread.

William, is Irreversible worth seeing in terms of technical or even how NOT to?

I will agree with Lawrence, the film is extremely[/b] disturbing, both for the explicit content but also the mechanics of the story just compounding the disturbing events. However, if you can differentiate the technical side from the film's story, I think there are numerous things that, as operators, will possibly impress or at least make you ponder how you would achieve the same shot(s).

Why not "make history" by doing a film out of 22-23 five minute shots that are really good from a filmmaking and storytelling perspective?

I would offer two movies that already do their best to achieve just that:

Children of Men - Nothing on Steadicam, and while the emotional moments do tend to make use of editing, the memorable moments in the film are primarily long takes (or digitally stitched REALLY long takes). Everyone who's seen the Behind the Scenes material knows they hid the edits, the overall feel of the film slams together already long takes into fairly exciting, high tension scenes. Even still, a good friend of mine still thought the movie was "boring".

Irreversible - A very difficult film to watch for most anyone, I don't think you can deny the film's emotional power. Told from "end of story" to "beginning of story", I believe the whole thing plays out in scenes as short as a few minutes, or as long (and horrifically disturbing) as 7-8 minutes. I would say the scenes with high energy and nauseating camera movement would not have succeeded if they were cut up into montage. However, to try and tell that whole story in a single long take seems impossible.

I suggest maybe it comes down to this: if you're going to make a 90-120 minute film out of a single take, that requires that 90-120 minutes of the film's "reality" be emotional, hilarious, action packed and altogether enthralling enough to fill every second of that time. Most films take that much time to tell a story whose reality spans hours, days or years.

Is this by any chance the thing I sent your way? I sent two different people your way in the past week or so. Not sure if they ended up contacting you.

 

~Jess

Yea, they called me last night. Not sure if it's for sure yet, they sent me a copy of the script, but nothing's official. Just figured I'd do some advance homework while I got the time to wrap my head around it.

Greetings all. I've been operating almost 2 years now, really appreciated all the information and support here on the forums. It appears now that 2010 has brought me not only a first for the New Year, but also a first in my career: shooting film.

I was referred for a student film shooting, and they won the Panavision film grant, so looks like I'd be shooting on the Panavision Elaine. I've worked with the Elaine as an AC in the past a couple times, this will be the first time I have it on Steadicam. So far, I've been entirely digital, mostly shooting with the RED.

Any tips, advice or words of wisdom, not just for shooting with the Elaine but also for shooting film for the first time?

As of now, I'm already trying to figure out how to make it to the camera prep to test build my rig (Archer2). My usual "pre-flight" checklist will be triple and quadruple checked, but anything you wish someone had told you before that first FILM shoot would be great.

Many thanks in advance!

get ready for the first iPhone feature film guys....

To be shot entirely in one take...

Thank you for the replies so far. I think the diplomatic approach is a skill everyone learns over time. As someone who's suffered from a lifelong "no brain-mouth filter" affliction, learning diplomacy has been a tough lesson. Many of you are right, I do think it comes from a place founded in humility first and foremost.

Anyone make any memorable mistakes you were able to recover from on the diplomatic front? Or weren't able to recover from?

I only do what the cutest extra tells me to do...she'll be running the place or a famous actress in a few years anyways.

 

rb

Go big or go home! You like betting the longshot, don't you?

I'm eager to hear some advice from the seasoned operators, as it seems on every shoot I operate, I run into this problem.

You start a job, and you haven't worked with the DP before. Or, perhaps you have, but the situation still comes up. You're giving input, they're taking it and giving feedback. You're really collaborating, getting excited about the shots, adrenaline starts to spike.

Eventually, though, you reach a new shot, and the DP talks you through it... and you're just not into it. You understand the story, the moment, the camera logic and intuition, but something about the shot the DP is telling you... just... doesn't feel right?

Perhaps you know exactly the change you think you should offer, but it's dismissed in favor of the shot you don't particularly connect with. What you're being asked isnt' necessarily "bad", but you just don't connect with the shot, and perhaps you just can't offer an idea as an alternative.

I can think of a few situations in the past where that exact problem arose, and I still operated the shot and they got what they wanted. You don't want to be the guy who just refuses to operate if he doesn't understand the shot, or why, or do you?

Perhaps this question goes together with the typical diplomacy you learn on set, or feeds the personality by which you're known. I'm sure some people are known as the "I'll get your shot no matter what" types, and others "won't budge unless they completely agree with the shot" type.

What's worked for you?

Did you regret just giving in and performing the requested shot? Were you surprised, or happy you did?

I believe I will be powering the camera from two batteries using a dual mount hot-swap. That gives the camera nearly 3 hours of continuous use. Then I will power the accessories from a separate battery dedicated to the motors, transmitter, etc. If I'm using RED Bricks that gives me about 420wH for the whole rig.

Don't trust the paper numbers, I'd really encourage you to spend a full day in the rental house playing around. Power the camera off 1 RED Brick and see if it really hits "almost 2 hours", or barely stretches past 1 hour. I've worked with the RED enough to feel hesitant at the claim the RED One can run in idle mode for almost 2 hours, let alone recording for 2 solid hours.

Are you thinking of powering the camera and monitor off the sled (2 RED Bricks), and maybe using a RED Brick mount on the body to power the Preston (via D-tap)? What type of dual mount are you planning to use?

Considering the RED camera body with all the gak, numerous batteries, Preston + 3 motors AND the Optimo 17-80 lens (Angenieux website claims 11lbs), I think you're officially past the weight range of mid-level rigs like the Archer2, and you will probably wind up with a top level rig like an Ultra2 or a Pro with 70lbs arm.