Imran Naqvi

Very cool !

Indeed very cool. Is this unit go in production?

Next step, blue tooth zoom control?

Also a good idea!

I have Peter Abrahams wired tally light, but I would also be very interested in this wireless system.

Just read this article on the Wired website.

click me

Bit unfair to call it the "Nerd oscars" I thought!

 

Since this company know of your inexperience with film, have a chat with your DP and if they're amenable let them set everything up on the camera, so literally all you do is slap it on, balance and go. They should be familiar with videotaps, follow focus systems and should have worked with steadicam before.

 

My first film job I didn't touch the camera at all until it was ready to go on the rig, I didn't see the point in getting in their way.

In my experience, not touching the camera before it's ready to go on the rig is standard operating procedure on all film jobs. The 1st A.C.'s job is to deal with the camera. All you have to do is power it, balance it, and hook up your accessories. Of course it helps to have as much knowledge as possible about the camera you're using, but it's not imperative. This may not be true in places outside of the U.S., but in my experience that's the way things work here. Is it different across the pond?

Not different at all, just flagging up the different ways of working since Matt has only ever done video work, and may not know what if anything he can do to help as the camera is being set up.

On my first film job I had an AC who was familiar with the FF ( I was the least experienced person there) so I didn't even set up my accessories, it was all hired gear anyway, and I asked them first if they were cool since I had never worked with a film camera before.

Well i knew the time would come when i would be offered 35mm work but i didn't think it would be so soon.

I have been battling away in low budget music videos and films for just under a year now.

Always shooting video, dv up to varicam, but never working on film 8mm, 16mm, or 35mm.

In the past i have been offered a few 16mm projects but i have always turned them away due to my lack of experience in this area.

 

 

Along comes a really really nice production company who love my work.

They say they only want to shoot 35mm and nothing else will do.

I mention i'm not at all experienced with film but they insist. I try to pull the old varicam argument v's 16mm, and on to mentioning something about star wars but to no avail :lol:

Anyhow it turns out they have loads of projects for me but their all on 35mm so i need to get up to speed.

 

I guess I need to hire a rig and know how to set it up for film !

Also how much insurance should i expect to have to cover for this ?

Many questions indeed.

 

As ever any info greatly appreciated.

Hope this could helpful to other up coming opps in the future.

Cheers

Apart from the kit (which will actually feel nicer than a video camera on a rig) the most important thing are the AC and Clapper/Loader.

Since this company know of your inexperience with film, have a chat with your DP and if they're amenable let them set everything up on the camera, so literally all you do is slap it on, balance and go. They should be familiar with videotaps, follow focus systems and should have worked with steadicam before.

My first film job I didn't touch the camera at all until it was ready to go on the rig, I didn't see the point in getting in their way.

In terms of insurance, production should be covering this, your only concern is whomever you rent the rig from needing you to have insurance.

As someone mentioned the film moving in the mag can feel weird and only becomes an issue if you have long takes, otherwise trim the rig on the arm between takes, it won't need much. Steadimags for the camera are great and take some of the issues with the change in balance out of the equation.

Good luck and have fun!

I recently had a day on a low budget feature shooting on S16. The director wanted a full run out of a bedroom down 4 flights of stairs 150ft down a corridor into the kitchen in the basement (it was a stately home) in DJ. I spent a while walking it out taking my time to look at it right. I had a grip that totally had my back.

The DP and director wanted this shot at 5 fps so I was also wearing the speed ramp box.

The camera crew took a little while to set up and so the director wanted to roll on straightaway, I said I would prefer a rehearsal but what can you say? So we did it. It looked crap, the actor whom I'd asked to help me a little by being aware and not closing in too close and hugging the wall rather than the bannister did the opposite of everything I asked.

Director took one look and decided I wasn't going to get it and wanted to do it handheld.

The kicker? The DP was ramping up and down from 25 to 5 fps during the shot, the first time he ramped up from 5 to 25 he did it so hard that it tore the perfs in the film and the shot was un-useable. So I had to sit there for the rest of the day beating myself up over a shot I shouldn't have done, without a rehearsal and which was un-useable for tech reasons.

And I still had to stay for the last shot of the day which was another run down stairs this time only down 2 flights and a follow. We nailed that on the 3rd take and I felt a little bit better when I left but that first shot still bugs me.

I will definitely know better next time...

How limiting is a 50lb. limit?

Easiest answer to this is, how heavy will your sled without camera package be? That'll tell you roughly what your arm will be able to work with.

Thanks, but I am ok, it was Brian Fowler who had something stuck. Brian, did it come loose now?

 

Still working on it. I haven't had time to try very hard, but I need to.

 

I think it's a great excuse to get a G50 or G70! =)

Get in line Fowler!

Quick question, leaving aside getting power to both,

 

 

Hi Imran

The flyer should come with a power supply to fit the dsr thus releaving the battery off camera (if not i have one and will be in london next week).

-matt

It has the 2 pin hirose to 4 pin XLR lead to get power to the camera. But since that's the only power off the top-stage I need to split power off that hirose, or get a 4 pin hirose from the 12V out, off the camera, to whichever follow focus unit they manage to get.

Hi all,

Quick question, leaving aside getting power to both, can anyone let me know if a flyer can take a DSR570 with a wireless follow focus and wireless iris control.

We only need the iris because the shoot is supposed to be a nightclub scene and without the option of a ringlite iris pulls might be essential.

Any advice greatly appreciated.

Imran

p.s. I know my EFP can take them, but this lot own a flyer and don't want to hire my rig. I'm trying to talk them round, but what can I say, they're cheap.

Nobody?

 

Manuel

Not sure about blue springs but I do know that the cable length for red springs as compared to gold springs isn't the same, I think that red spring cables are shorter than those for gold, but I'm not sure.

So, I figured I'd post a few words about this weeks shoot.

 

It was my first music video, and on a shoestring budget.

We were using an SDX 900, and neither the DP, or myself had ever seen one in person before. I only had a few posts here at the forum to go by. We set it up in 24PA and it really looked good. I'm sure we could have tweaked a bit and improved some, but they were happy, so I tried not to meddle. We never did get the video out to have framelines and camera info though. *shrugs*

 

They wanted to see what was going on, so they gave me a tether. It was a big'ole stiff cable, but i'm lucky I had a tiny BNC to hold. So it didn't end up being to bad.

 

The first shots were pretty simple. Medium zoom and a little slide to the side. After about 30 min working on a ver variations on that shot, I bumped something in my pocket, and blew one of the takes. I couldn't remember what I had left in my pocket, (I usually empty everything) so I patted my leg to see what was in it.

 

the top of my leg was numb. I'm not a seasoned operator. I've had my EFP rig about 6 months, and been moderatly active with it. And for sure been in it more than 30min, but this is the first time that had happened. I'm assuming my oversize vest was pressing on the "leg" nerve. After a 5min trip to the bathroom, it was back to normal.

 

One of the last shots of the night required a vechile mount on the back of my ranger, (my wife driving) with the producer in the back holding a 10-15foot sprinkler system. It was to simulate rain, and for what it was, it worked...i think.

 

The shot was a tracking shot of the actress running through people...in the rain.

 

I protected the sled with trashbags wrapped around everything, and gaff taped to the post, and other things. For the LCD, Ame (wife) got some lexan, and we taped that real well to the front, and plastic on the back

the camera had a jacket. The DP was protecting the lens with some old Black Foamcore I had in the truck.

 

In the photo, nothing is holding me, or the camera in. The socket block is on a short post, on some plywood, that is clamped to the tailgate. Then I sat on it. It's something that came with the rig, and worked great. But isn't really same. I'm going to work on fixing it up, or buying an India Mount...

 

I was wrapped at 4:30 am, but the rest of the crew stayed on longer.

 

Things I learned from this shoot:

-I need a cart, Magliner with Shelves, or Liberator..whatever. Something to carry all my sheet with.

-Low budget is ok, but estimate my profit before agreeing to do it.

-Carry tools..hammer, tin snips, wrenchs, etc..

-I need a new vest, or modify this EFP vest to fit me better.

-Naturally, Jerry H was right, changing shoes is nice.

-My "long" shot isn't quite what I want it to be.

-I need a heavier LCD.

-I'd like a frameline generator

-My posture seems alright, but I lean back to much

 

A couple of photos. My wife took them in between helping me, and driving. She liked my plastic skirt...er... kilt... yeah.. kilt.

DUDE!

How you doing? Glad to hear you're doing well. Sounds like a nice straightforward no money shoot to me.

Not sure how much you need to mod your vest, but I've modded mine to have buckles on the lower section, just means you can release the pressure on your legs between shots, without having to do anything more than dock or hand the rig to an assistant (if you have one).

As for the heavier monitor, you could always have a stainless steel plate made to fit between your monitor and the monitor arm to get a little more mass.

I am doing a hd shoot this weekend and am looking for some tips. The camera is a HDW-750 and i never used that one before. I assume it has an build in down converter so i will be able to have some analogue signal for my monitor. Probably have to fly with a wire for director view. ( if he wants to see hd signal )

 

Do i have to go to many menu's to find that down converted signal? And are there any other tricks i need to know?

 

Thanks for any input

 

Job

There's a straight SD out from the body, no menus need be fiddled with. HD monitoring for the director however, will need a cable.

Lucky you.....

Well yes, yours is bigger than mine......

I'm still stuck doing the jobs where I only get called the day before with students or self-financed projects that are never quite as well organised as they claim, and they never have enough money for a video sender let alone a 900/Cinealta.

Imran,

 

I'll second Chip's advice and raise it by on web link (in case you don't have Rig Engineering's info):

 

http://www.steadyrig.com/

 

A red spring arm is not worth that much in and of itself, so the upgrade really puts value back into it as well.

 

Oh, I noticed you mentioned HD as well. Not sure what HD set-ups you've been flying, but most of the ones I've had on my rig are at least as heavy as 35mm work!

I've had a Sony 750 with a genio and Canon HD zooms and primes.

If anything the 750 being effectively an HD replacement for digibeta feels like a slightly lighter body, but needing heavier lenses.

Gentlemen,

I own a red spring 3a arm with an EFP, and while it's fine for video jobs SD to HD, I finding that I'm starting to get a little bit of 16mm work.

No problem right? Well not quite, I have a set of ProPacs which run to 2.5KG each plus with my Blackbird LCD that is heavier than the green CRT that it replaced, a fully loaded SR3a is just too much for my arm. That leaves me needing to hire in a gold spring 3a arm, which at the level I'm currently working at tends to cut into my fee a little. So, I'm looking at potential upgrades.

As I won't be able to keep my old arm as a spare, I'm wondering how much my arm would fetch on the open market. It'll at least give me an idea how much I'll need to save.

is anyone attending the gtc awards dinner and seminars  next weekend Garrett Brown will be attending , so i'm told  . if so i will see you there ..

 

 

Steve

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I'm going to try and make it down there!

I own an EFP which I'm looking to modify/upgrade and would also be interested in seeing this topstage.

Just like to point out that my doubts about the 50lb limit had more to do with the use in the industry once you have a fully loaded sled with 35mm package and all of the extras that might get added to it, NOT the ability of the arm to deal with it's advertised range.

Anyone have any spare change?

Having had the fortune of playing with the G50 for an entire week during the Yellow Springs workshop in may, I have only nice things to say about it, with the only doubt being the 50lb limit. Now that Jerry, Garrett and Tiffen have cracked the engineering for the G70 it's time to start saving my pennies.

Does Tiffen have an availability date for it yet?

Of course I'm expected to do a steadicam shot while in freefall now...

I've had a guy ask me at a trade show if you could use steadicam in freefall..................... :blink: yeah really.

After I had recovered from being asked that I had to explain, that the arm would never survive the lnading, quite apart from the fact that in freefall the camera is weightless, so why would you need an arm to smooth out the bumps?!?!?!

I'm still surprised every time I think about it.

Hi Guys,

Quick question, how does one use bungee cords with a red spring 3a arm?

I have a shoot coming up with a fully loaded digibeta, which should be fine but might just be on the edge of my Red Spring arm's capacity, so it would be helpful if I can get a few more pounds of lift out of it.

I've tried attaching them to various places but I can't seem to find a place that attaches firmly without the possibility of getting the cord caught in the arm or restricting the boom range too much.

Hi Job,

 

you are a REALLY active use, and I appreciate very much your quick answers!

 

Job, YES , I am in a hurry because I hve to get skilled and used to the sled I buy in the next 3 Months, that means, I have to jump into serious shooting mid of September ... So I would like to dive into the (hopefully not too cool) water within the next weeks. There are only a few choices under these conditions:

 

1. Starting with a V16 or V20 Sled for getting into it and upgrading later

2. Getting a Flyer, which is lighter in comparison to the V Sleds: less weight, LESS STABILITY ??!!

 

I can NOT afford a Glidecam Gold system for the Project, but I need to have camera stabilisation and, as it is a Documentary, I will have to stay for hours in the system ...

 

The V35 will not be available before IBC I think, and that will not leave me the Time to get enough operating skills ;-(

 

the usual Problems: not time, no money BUT LOTS OF MOTIVATION

 

Thank You Job,

 

my best wishes

 

Achim

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Whilst more expensive than a flyer, if you can afford it, take a look at the new Archer which is an SK replacement. It comes with the new G series arm, which will comfortably take the SDX900, in face because the sled is so light it should just be able to manage a 35mm camera!

Oh I don't know.

Throwing the sled away from your body should have the same effect as leaning forward.

Maybe it's all about using the sled position relative to your body to steer....

Sweet,

 

That's what I'll do.

Now that I've used an ultra vest, this one just doesn't seem to be the same. =)

 

I'll have to order some of those today, and post back the details from tiffen for the others to see what the new people have learned. *grin*

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You might also want to try climbing stores like EMS. Or Grainger or McMaster Car, they might be a little cheaper. Also changing the velcro will help keep everything tight. A little tip...If you have a Clobbler (shoe repair guy) they have great sewing machines that will go through the heavy fabric. Don't forget the cross back straps too. If you need any help Peter Abraham does excellent work and could help you out I'm sure.

 

jay

 

p.s. How are you guys Bryan and Imran? Hope all is well.

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Good to hear from you. I'm doing good, but my EFP is in for some repair.

Long story short, don't design a shot running through a forest parallel to a pair of actors, then agree to go from 20mm to nearly 50mm (Canon video lens on a 750) because the director wants just head and shoulders. Especially if you have to pick your way though a couple of very low tree stumps.

Only damage was to my pride and the bottom of the rig got bent out of shape a little, but we still got 7 very useable seconds of the shot which looked good, and I got straight back up and we did it again at 20mm like I wanted in the first place.

Waiting to see which insurance company wins, so till that is sorted out I'm rig-less.

Hope you got the class pics as well as the pic of you doing the grand prix shot.

I created a small website that has photos or links to Operator's Rickshaws.

 

If you have a Rickshaw and would like to link it to my website just email me. Or if you have photos I can post them.

 

It's interesting to see the different styles.

 

Check it out.

http://geocities.com/steadidave/rickshaw

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Nice, very imformative.

However the link for Larry's rickshaw is wrong it just points at matias' rickshaw.