Pedro Guimaraes SOC
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Posts posted by Pedro Guimaraes SOC
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Hey Pedro, thanks for a great thread.
What's the IA (IO) on this little baby? I wonder if a super lightweight setup could be achieved with these to work off the Tango (under 6lbs.)
This is about the best we could get on the parallel rig a few years ago at Paul's first workshop in '09.
I think 1.5" IO. You would have to run 2 sdi cable down the "arm" of the tango....but yes could be made to work.
Although For the kind of shots you can do with a tango....I have to say majority of the time I think we would require less than 1.5" IO.... but it would be interesting to test. If anyone in LA has a Tango and wants to play.....contact me.
It's really about finding creative shots that make the most of the tango while working within the constraints of the fixed 1.5" IO.
testing...testing...
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That is somewhat vaporware....I know the guy who's the lead designer on that project and I know it's coming....but they are shooting to be a much better camera than the Panasonic. The sony with have interchangeable lenses and most importantly variable IO from 1.5"-3".
That will be a very nice setup for broadcast 3D. !/2" imagers....nice.
Not good enough for feature work. Just like an EX3.
They are working hard but it's still sometime away.
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I also used many heden motors with my cmotion for 3D in extreme temps never problems.
Even outside of helicopter in freezing airstream in high altitude shooting 3D extreme skiing this year....
No problems at all....with camera, c-motion or Heden.
with cold temp and wind chill....I think temps were very cold....below freezing for sure...
we were all surprised when everything kept workging!
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Viewfactor sucks....had many problems on shoots (I didn't bring teh viewfactor to set.) avoid it.
My vote is Bartech with new Digital reciver. Calibrates as easy as preston now. 1 button done.
a BFD, digital reciver and a heden motor mroe or less around 5k here in the US....In brazil....man forget it everything is like 5 times the price....you need to find someone to sneak it into the country.
I should know I'm brazilian but live in LA now.
Personally, I just rented BFD and the occasional cmotion and preston. Saved my money....
Recently I just bought a new C-motion Cvolution set.....$$$ big money. But should pay off quickly due to its 3D capabilities...
Like I said I think in your situation, being new and being far away from any "service" facilities. I would go with Bartech. They are workhorse of hundreds of ops for years.
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and low mode was no problem...
The other options currently being used on set right now all have less resolution and 20lbs.+ more weight. All of them max out a PRO arm which means they are around 80lbs+. Also they all have the pan/gimbal issue. So when you think about it the Atom is a great step forward.
Complete specs on the Atom here;
http://www.technica3d.com/3D-rigs/Atom.php
exciting times...excited to be a part of it.
enjoy the video!
or on vimeo
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ATOM + EPIC + Steadicam = 5k 3D on the move
SWEET.
Joey and guys over at Element Technica were nice enough to invite me to test fly the Atom Rig with the Epics today. Also checked out the neutron and scarlet combo.
I have worked with the Neutron alot this year on my steadi and was anxious to try the Atom/epic on my steadicam rig.
It's important to note that GPI maker of the PRO steadicam rig which the majority of A level operators use in the industry is coming out with a updated battery module that will allow greater battery movement. This will allow me us reduce battery weight from what you see in the pictures/video. Also, in place of that battery you see hanging off the back of the rig I'm excited to announce that Element Technica is currently working on a "balance module". It will be a device that will attach roughly on the back of the rig and will compensate for IO movement. It will have some unique design features allowing smooth "IO pulls" by the stereographer and provide the best IO balance system I have heard of. Just like the guys at RED, they are very busy over there and it will probably not be ready right away but they are working on it already. Can't wait to test that out!
The other advantage of this system is that it will place some weight were we need it...on the top camera towards the back. So it will serve few functions.
Right off the bat, I noticed just like the neutron with the gimbal at the top of the post (where it needs to be) the Atom/Pulsar allows the operator to pan past 90 degrees! This is currently impossible on all other 3D rigs since you hit the bottom camera way sooner. This is made possible on the Technica3D rigs because they have a very low profile bottom camera plate. In fact the only thing making contact with the gimbal handle is the dovetail. So in cases where you are using primes or other short lenses you can use a shorter rig dovetail and achieve 360 degree free rotation while operating or balancing. Frankly the close to 120 degrees it gives you normally without having to shorten the dovetail (I showed this in the video) is enough to do a very common "profile" walk and talk shot. This allows the operator to walk forward and point the lens 90degress towards the actor. Right now this simple task is not possible on other rigs.
I tested the rig with a few lenses,
Angeniuex Rouge 16-42
Arri UlraPrime
Superspeed
Main reason was to see what effect the different lenses had on rig balance because of weight and size.
Surprisingly, as a operator and sterographer I have to say there are the Angeniuex zooms are a good combination. Slightly longer post, but the flexibility of the zoom saves alot of speed on set especially a 3D set. Since the Epics are fairly light moving the weight back a few inches is not as bad as you think since you need some weight towards the back anyway!
Naturally, if I was preparing for a feature I would test some more and would improve further after some modifications.
The setup I threw together for the test can be improved on and made even lighter. While the setup is not lightweight around 60lbs (for everything including my steadicam post, monitor, batteries etc and rig) as it is, still a night and day difference from any other rig with RED One's or Alexas!! I know we can lighten that number alot. Especially if you take into account they are making a magnesium version that will be around 5 lbs. lighter!
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As far as the Panasonic rig goes you can actually shoot things closer than 10ft it is just that they will appear to be coming out of the screen at you. Correct?
Hey I remember you from NAB earlier this year! Hope all is well.
You can't.....well you can but you absolutely shouldn't. You'll melt peoples brains. The problem is that with that fixed 2.5" IO and shooting at the distance object in the background will exceed maximum allowable divergence limits......It results in too much parallax. Objects will start ghosting and you will be produced really bad 3D footage.
If you are working with people and they are shooting with that camera closer than 10ft. They basically don't know what they are doing or they are doing it on purpose? (for some odd reason)
Also the 3D networks have set parallax limits of 3% total with and additional 1% for titles. So if they are shooting for broadcast with that camera it can be very easy to exceed those limits due to the large fixed IO.
I did a greenscreen music video shoot with this camera and it was a dream. 3D light enough to require a weight plate and no real worries about alignment, etc...
I have worked with the panasonic's alot and they do go out of alignment. There is a feature on the camera that lets you adjust but reverts back to default if you touch ANY button on the camera after. Any permanent re-alignment has to happen back at the factory.
As far as the 21st Century 3D rig goes did they finally come up with a good solution for having the front camera shoot up instead of down? I flew a very early version with 2 EX3s and that was not an option.
Yes your referring to the BX2....early version
Yes his new rig the BX3.5 will allow you to mount the camera in any position. If you look at that video I posted of Phillip Martinez you will notice the camera is on the bottom. Better config still heavy.
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The ultimate test of it's improvements was to align the rig in "normal" mode. Then then go to lowmode and see if anything went out of alignment.
When you flip over gravity pulls down on things differently and before it would alter the alignment drastically. Even with a superlight camera as the Si-2k.....with heavier cameras it was a disaster = unhappy stereographer.
Below some pics of the test with the new mounting plates, Si-2k Cameras and Arri Ultra Primes PL mount lenses, Focus, IRIS motors and 2 Camin's.
As you can see in normal mode....the rig was aligned very well. Pay attention to the door frame if it was out of alignment you would see a red or blue color fringe(monitor was in anaglyph mode)
Now all I did was flip the rig over to low mode and as you can see instantly you can see that there is flex somewhere that still created a mis-alignment. (Note red fringe on door frame.)
Now....let me say this is a significant improvement on earlier version of this rig. It would be off waay more before. Also before it was a PITA to re-adjust. Now there is much less movement and much easier to dial that out.
So it's still not 100% but it's now more usable from a "3D/stereographer" point of view. As far as steadicam operation it remains the same as before.
Given the fact that the rig is now more usable it is more likely you will see it in use more now than before.
Here is quick video I took where I show off how the bottom camera plate hits the gimbal handle preventing you to pan 90degrees. Once again this happens on all the rigs except Element Technica Dark country and neutron rig.
New stuff happening every day right now in 3Dland....I'll keep the post updated.
I'm testing these this week as well....1080 HD, C-mount lenses, 2/3"sensor, HD-SDI out and genlock and they make a really good image.
These cameras on a Element neutron rig might be a great combination! Let's see how the testing goes and what the colorist says about the quality of the images it makes.
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If your familiar with the original camera mounting/adjustment plates then you can quickly spot the differences.
If your not you have to looks closer.
here are some detailed shots of the upgraded camera mounting/adjustment plates
3D Roll alignment adjustment is now on the bottom camera.
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Yesterday I had the chance to test the upgraded P+S Freestyle "Evolution".
They have moved the "roll" adjustment to the bottom camera that simplifies the upper camera mount. Then they have redesigned the upper camera mount. It is bigger. Has a new method to lock down the adjustment. Also features a new mirror for better optics. (
I did not est the mirror)
The rig does adjust much better and easier than before. It also locks down your adjustments without affecting your alignment.
So basically this is now what the original should of done.
http://i414.photobucket.com/albums/pp221/1602racer/3D_steadicam/IMG_1817.jpg
I heard Steve Fracol also just tested this upgraded Freestyle for a upcoming 3D feature.
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I wish I could post more than 3 pics at a time....
here's a few more....
View from the top....talk about freezing cold hanging out in that open door!!!
The pilot was a vietnam veteran, he flew cobras.......he landed us in the most sketchy areas that day like he was pulling into a seven elven......probably the best pilot I have ever flown with. Pilot is the one on the right...
What we were shooting......yes, that skier is doing a back flip over the wheelhouse of a skilift. Later they were doing a 130ft jump...some of the best skiers in the world that day.
Good times....
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Great thread!
Tell me, was that heli shot just a single time deal, or do you work with the AS350 often? I used to fly one for Air-Glaciers in Switzerland, and I'm always interested to see it used in flim!
Yes,
Did a few Helicopter 3D shoots this year....
1 week in the incredible (my favorite) ASTAR....
I LOVE the HUGE door opening....you can swing the huge camera very well...the power at high altitude...is well legendary at we sure used every last horsepower that day! Also less problems avoiding the rotors in some of the shots not sure why.....we did have a different pilot.
1 week in a Bell 407
and a few days recently on the last 3D feature I did on a Bell Jet Ranger. (my least favorite)
I LOVE being in the air...Helicopter, airplanes and recently a parachute.
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Yes thank god for those films in 3D. Oh yea Piranah 3D was shot on film. Well yea those facts are there with all the 3D trend. Ive shot 3D features and let me tell you it is no picnic. Tons of Problems. The rig set ups have got to get better and most of these setups are heavy as hell. Sure I enjoy an occasional 3D film but it really needs to have a need to be 3D in my opinion. I guess Im just sour to the whole thing because everything is in the prototype phase and most of us are the test pilots. So far the only rig I liked to use was the Paradise FX rig. That one was very cool.The other ones I've flown either balance really bad, or sometimes barely work. This was Pace and Element Technica rigs. All the weight, Cables, etc. etc.Like I said though I've been flying prototypes but on the job. I guess we will all see if 3D sticks around. I think it will be here for a few more years. But hopefully it will die out or at least the rigs get smaller and work better. Pedro, did you come up in 3D? I like the knowledge you provided so I figured you work solely in 3D. Im actually headed to do another feature that is gonna be shot on film but we are framing everything to be converted. I actually like that. Shoot with the ease of regular shooting and then let them convert it. I guess Im just old school when it comes to filming. Well, like it or not right now we all are gonna be flying these 3D rigs. More Lisigav Ron and heavy drinking lol.
FYI- For those of you who don't know the Paradise FX rig BJ is talking about is Identical to the "Dark Country rig" I talked about in my post. ET and ParadiseFX always argue who invented it....in any case. It's the same rig.
You could say "I came up in 3D".....it opened all sorts of doors for me and based on 2010 I'd say 80% of my work was in 3D in an out of the vest, since I'm also a Phantom tech and work as a DIT.
In-between the 3D gigs, I work on 2D commercials, music videos and a few shorts.
After shooting 3D so often......working on a 3D job is like going on vacation!
recently I came back from a feature an months working with heavy 3D rigs....first job back in town....a 7D music video.... I just about laughed out loud when I showed up at prep and saw the camera. The job went so smooth (pun intended) and I was like "I can get used to this". Then I got my paycheck....and I was like "can't wait to work 3D again".
:lol:
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Well, fortunately/unfortunately however you choose to see it...
I pretty sure we are past the the fad stage. Sony, Panasonic, Samsung have invested a major part of their companies future into 3D. They will not let it fail now.
The success of the world cup 3D broadcast has spurred the news of a few 3D cable networks. ESPN3D is in full swing and production, Direct TV and Comcast are launching thier 3D networks and Discovery 3D is also in full production.
I have also shot 4 3D commercials this year, I imagine those numbers will ramp up significantly in 2011.
Just that alone will call for an amazing amount of content creation.
Samsung and JVC have announced news of $999 40" LCD 3D tv sets.
The Sony Playstation 3 is currently 3D blu-ray capable and you now can play more than 300 titles in 3D. Call of Duty-Black Ops and the new Gran Turismo games are the latest big releases to have a 3D play option.
As an avid gamer, looking thru the scope of a sniper rifle in 3D is awesome. The 10 year old inside me would of not left the TV for hours. I think the 3D video gameplay will spur the purchase of 3D TV sets in a big way.
3D is a new cash cow, for producers in the movie industry, for the electronics industry and for the video games industry.
While I'm not going to admit that the possibility of it fading out again like it has in the past can happen again.....it certainly possible.... At this point I think that it's highly unlikely.
Like it or not, looks like it's hear to stay.
Fortunately all this mean rapid technology development that should make our jobs easier (lighter).
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Pedro,
What a great one location cliff notes on 3D. I have been meaning to get my head around it all but you really did a nice job touching on everything. You obviously took a lot of time putting together a great resource here for the Steadicam community. Thank You.
Thanks, yes it did take some time. Been meaning to do it for quite some time since I see so many random posts about 3D. I figured it was about time to centralize everything in one location.
maybe the moderator can "pin" the thread so people can easily find it in the future.....
I will post more pictures and update the post as new things come out...
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Sanjay, I think I know what movie our working on ...is it a Ang lee movie? If so we might work together. I might be working on the stereo side of that movie. We still talking but who knows.
If that is the movie, they I know you be using same setup as Larry....aka the Pace rig. My suggestion is that don't expect to go anywhere fast....multiple take will drain you so fast. Actors and 1st AD all should try to help you out. Staying on the docking stand until the last min. In fact that rig is so heavy we usualy roll camera and slate on the docking stand and they fly it away for the take.
Also with that setup, employ a dolly, a steadisegway, atv or any other device that takes the weight of your vest!
Here is operator Greg Smith, 1st AC Paul Santoni and DIT Brook Willard on the ATV for a long walk a talk scene on our recent movie.
Make sure you hardmount is strong because it will be under alot of stress. I like my Klassen mount for it's strength and adjustability.
Also you can use you existing ARRI power cable to power the bottom camera and use battery for top camera since you need weight on the back anyway. This will help alot. Naturally try to at least a full day to prep....make adjustments, and try different things out...
Good luck!
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The FUTURE of 3D……
Well there is thing wonderful thing on a set right now called a RED EPIC and soon the RED Scarlet.
This will makes all of our lives easier again. Complete rigs with these cameras will weigh around 35-40lbs.
This is not a pipe dream……currently shooting in LA the new spiderman 3D movie. Using element technica rigs and RED EPICS. I’m sure the steadicam operator on that feature once it is done will chime in and let us know how it went.
Besides the RED invasion into 3D in 2011…..there are other developments.
Screen Plane – A german 3D rig manufacturer is coming out with a superlightweight mini 3D rig..see pictures onthis link
http://www.screenplane.com/steadyflex.html
E3D – I talked to the designer of this company and supposedly he is working on a small lightweight beamsplitter rig.
Lightweight Single body 3D cameras in development and prototyping.....
Sony is working on thier competitor model to the Panasonic I pictured above. Due to release 2011....word on the street is variable IO and interchangable lenses. This means more possibility of use on steadicam.
I have worked on a few of these prototype systems.
Here is a picture of a single camera, Single lens 3D system on a Phantom 65. I flew this on a steadicam for a test shoot and it worked like a dream less than 25lbs.
Here is another, single camera system.....this time RED One....dual anamorphic lenses passing thru prisims. Giving us left and right images on on frame....
working prototype....check out the red monitor....that is the inventor and stereoscopic legend John Rupkalvis (my mentor)
Obviously....these are prototypes....proof's of concept etc....there are issues to be worked out. But now that the money is in 3D in a big way, hopefully some of these ideas will get funded and we can soon have workable single camera body systems to fly.
Like I say to any camera operator or DP I work with in 3D.......don't worry things getting easier and better by the week.
There are many, many other rigs and accessories that will make 3D easier…..lighter….less cumbersome. Coming soon to a theater near you B)
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Panasonic AG-3DA1
Panasonic’s newest “pro-sumer” 3D camcorder. Very lightweight, resembling a HVX200. Single body 3D !!
Very exciting camera, since it simplifies everything. Anyone can shoot 3D after a few mins of instruction.
The catch is....It has a fixed IO of 2.5” and a widest lens of 50mm……which very much limits its use on a steadicam. Also the camera sensors are very much on the consumer side....they can't hold a highlight at all. It shoots 1080HD might be useful on a broadcast show, industrial project or web work. But you will rearly if ever find this on a feature set.
If you get a job flying this camera, it’s very much like a DV 2D job…..but easier since can’t get any closer than 10ft to anything your shooting due to the fixed IO of the camera.
I actually added a weight plate as you can see, since the camera by itself was too light for my springs.
21st Century 3D - 3DVX
Jason was a pioneer and invented this camera years before the above Panasonic. Essentially it is the very similar in stats and limitations. It did shoot HD 10BIT RAW file which was quite good considering the sensors were from a dvx100. Jason has officially retired the camera from use. So it’s unlikely you will ever see it again.
Dave Isern, SOC shooting Belly dance superstars 3D
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Intervideo prototype – Horizontal beamsplitter
This is a prototype beamsplitter I tested and operated on 1 job with.
It’s basically functions like the other rigs but instead of usual “L” shape of other beamsplitters. It takes that and tips it on it’s side.
A novel idea….but still not developed enough for more serious use. There is some flex and the mirror is on the small side....
The bottom of the rig had many mounting points allowing me to place it where I wanted to get a good balance.
I have used this rig with small cameras Si2k, 5D and also with EX3’s.
With DSLR for a test...
low mode...camera gets in the way big time...
same rig with Sony EX3's
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Sean Phillips Steadirig
Sean Phillips is an inventor and famous stereographer inventor of the Gemini 3D 35mm film camera. He has designed a smaller simpler 3D rig for handheld and steadicam use.
The rig has a straight forward design but it works well and has filmed many projects.
The rig also suffers from the same large camera plate that limits the gimbal handle movement on pans and side tracking shots.
Seen here in “broadcast mode” during filming of “We are the world” with Ikagami HDL50’s the rig was had a reasonable weight.
Seen here with 2 Alexa camera for a recent music video. It becomes extremely heavy in this configuration….to the point of very limited vest use. Unless you use a steadiseg or hardmount on a dolly or similar device.
Jodi Miller getting ready on the camera ATV/car
Sean owns a few of these rigs but they only work on projects that Sean himself is working on. So this is not a rig you may encounter with much frequency as say an element technica rig.
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21st Century 3D BX3
Designed by famed stereographer Jason Goodman, The BX3 is a great 3D rig by all accounts. For a full studio sized rig it still very light for a rig that size. It can be fully motorized with c-motion. It has many features stereographers like and the optics (the mirror) are the best in the market right now.
Me and others have operated this rig in both camera up and camera down modes. With EX3’s and REDs….. with either camera it is still very much on the heavy side and will max out a PRO arm or a g70.
So it is a full load, like the pace rig. More than a few operators have used this rig....there is a growing number of them out there.
Me at a black eyed peas concert
Rob Vuona in the Aztec Ruins in Mexico
Operator and board member Phillip Martinez (NYC) works alot with 21st century 3D. Recently they made a short video of him flying RED One cameras on the BX3.
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PACE steadirig
The Pace rig will be found on large budget productions (Pace did Avatar, Pirates of the Caribbean 3D, Tron, Resident evil and more big features etc).
I have worked with it a few times.
It does have a counter balance feature as I described in the post above, that helps when the stereographer is pulling IO. It is on the heavy side whenit comes to rigs due to some of it's internal motorization. (MAX’d out the PRO arm.)
Biggest issue is just like the p+s the bottom camera plate is huge! Wider in fact. Severely restricting your gimbal arm movement…..making pans and tracking shots very difficult.
Also Pace’s 3D “system” currently requires a heavy tether cable…..referred to as the “loom” It has a lot of cable inside of it and can hamper your operating.
You can see the rather thick loom in this pic...Sony F35 cameras and Arri prime lenses.
*****beware***** when the rig tech/stereographer/cnvergence puller “calibrates” the rig. It WILL violently alter you balance. If someone does not have a hand on the rig it will tip over!!! If you happen to be operating at the time you will have to hold onto it or it might tip over!!!
Larry McConkey famously used this rig with 2 Alexas for Martin Scorsese’s new movie…..”Invention of hugo cabaret”
PICS
Because we used the pace rigs with heavy cameras…..Alexa and F35 we frequently have to make modfications on PRO rigs to move the batteries farther back. I heard PRO is releasing a new battery module to address this. May not be an issue with other rigs with rod systems for the batteries….AR, sactchler…..
You can see the modification we had to make to Greg Smith's rigs to move weight further back so he can maintain a shorter post.
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Element Technica “Pulsar” medium sized beamsplitter rig.
The pulsar will fit larger cameras, Sony EX3 and most commonly Sony P1 cameras. This configuration will be used often in broadcast situations in the coming year.
The pulsar is quite larger and heavier than the neutron. It operates in much the same way as all the ET rigs do.
While this is certainly a heavier setup than the above rigs…..it’s still on the reasonable area of operation…
BJ McDonald shot a 3D movie in Moscow this year and spend lots of time in this setup and I’m sure he can maybe talk abit about his expirience on the rig.
Here is another operator testing out the rig recently with Mike Rintoul of Element Technica.
As you can see it's definatly bigger than the neutron...accepts larger cameras...so it's heavier..
P+S FREESTYLE rig.
Fits, Si-2k, soney PI, Sony EX-3 and if you really want to …RED 1’s.
The freestyle is a sexy looking rig. Carbon fiber monocoque construction…sexy. Opposing camera movement…nice features.
Unfortunately in the real world on set they have proven to be problematic. On the 3D side of things….they are difficult to align., they don’t hold their settings very well, and the camera plate flexes a lot! This is a big issue for quality of the footage.
Also as I explained earlier in the thread. Since the bottom camera plate is so wide you have gimbal handle clearance issues on pans and tracking shots.
Here is a few pics of me operating with this rig……
I have heard they are releasing an updated version on the camera plate system that will address the 3D issues I mentioned above.
This rig has been used on on 3D broadcasts and a few movies Ultimately it needs to be improved...stiffened up to remove the flex in the plates and a better adjusting mechanism.You will always have the pan limitation....sideways tracking shot type issue. Although it is not as bad as other rigs like Pace and Sean Phillips.
Here is a quick video of my recent setup at a shoot
Also here is a great video of board regular Thomas English....showing off the P+S with 2 EX3's on it.
Some notes...he did not have any FIZ mounted (adds weight) also the C-motion unit they show is the Old one not the new one I talked about earlier.
There are lots of them out there.....and sooner or later you might come across a job on one of these rigs!
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Element Technica “Neutron” miniature beamsplitter
Small cameras only – Si-2k – RED Scarlet/Epic and a few others.
In my honest opinion simply the best rig to operate on. There are many reasons. Weight is very low…35ish pounds.
I have to say even though the neutron lacks opposing IO movement of the P+S it is much better suited to steadicam operation. Pretty much for that same reason.
I’ll explain.
The lower camera base of the Freestyle has to be wide to account for the camera moving side to side. Keep in mind this is also true of most 3D rigs in the market. This makes it so, if the gimbal is where I want it to be (slammed to the top of my post) I can't pan 90 degrees to do a tracking shot! Or pan! So what you have to do is lower you gimbal, thereby having to either add more batt. weight or extend you post. Either of which I really don't want to do. You end up with a heavier total weight. Even more so if you have heavier cameras like a Red One...
The other option is just to deal with the restricted gimbal handle movement……which sadly we are forced to do sometimes….especially with some rigs like the PACE rig….
Same camera setup on the neutron results in a much lighter total weight. (I'll weigh it tomorrow as I'm prep'ing another job). Because the lower camera on the neutron does not move it has a much smaller area hanging down in front on my gimbal/hand. Thus allowing me to move my gimbal all the way to the top of the post and still allow me to pan left and right freely. most importantly because of the gimbal position I can keep my post short and the rig on the lighter side....
…..with the neutron rig I can sping the rig 360.
You can see below how high my gimbal is. In fact I raised it further a tiny bit after the picture. Reversing the Si's on the dovetail also brought my weights closer to the center and lowered the mirrorbox. making for a more centralized mass. You can see I didn't even have to move the cinedeck to far backward to achieve the proper balance. I'll probably use a shorter dovetail next time.
More importantly the rig aligned well and the remote motorized controls worked great for both shoot days...(on the beach in the sand) Then later for weeks in South Africa.
Thumbs up to ET for making a nice piece of equipment. As much as I love carbon fiber and I wanted the p+s to work I think if I had to chose (as a steadicam operator and stereographer) I would rather fly the neutron.
The neutron aligns(for 3D) much quicker and consistent than the p+s.
Pulling IO during is almost impossible with this rig. The p+s and the Pace rig is certainly better in this regard but I'd rather "lose" that feature but have more operational freedom with the neutron.
You can see in this pic how close I had my gimbal to the docking ring on the post....also noticed we used Zeiss 16mm(mk.3) primes on the second day of shooting.
you can clearly see here the I have the gimbal all the way up (left room to enter the docking bracket) and I can still clear my handle.....I can literally spring my rig 360. Yes it is a close fit to the end of the dovetail. ET now has a shorter dovetail that then give you plenty of room.
Even tough I was hard mounted occasionally; I ended up operating from my vest most of the 2 days on the soft beach sand. A few weeks later I used the same setup to shoot footage for the FIFA world cup 3D Film. I spent 3 weeks in South Africa flying with this rig on my vest. I chased kids on dirt soccer fields and even shot out the side of a moving van (not so fun) but the fact that this rig allowed us the option of doing that is pretty awesome and unique.
Check out this quick clip of me shooting out the van...kinda scary, but then again I'm young and dumb.
3D Steadicam
in 3D Steadicam
Posted
Thanks you for contributing your experience with the new 3ality rig!
For those of you that don't know, The 3ality rig is called the TS5. It is very new and 3ality is not a very "public" company. I hope to soon be able to test it out myself. This is their first "smaller" beamsplitter. They are are calling it their handheld/steadicam model. I will reserve further judgments until I get a chance to take a look at it and evaluate it properly.
3ality is a industry leader and has a great reputation for making great 3D images. They use advanced electronic systems in thier rigs and they have done a lot of broadcast 3D projects.
here is another look at the rig in handheld mode.
As you mentioned it is not so small or light....making things...interesting to say the least.
There is alot of as you put it "electronics/etc" that go into making most 3D rigs work. This is where the ATOM is interesting...they are building in all the electronics inside the frame of the rig. This will clean up alot of the "cable spaghetti" that happens on 3D setups.
ALL THE CHALLENGES, you describe as common 3D steadicam challenges that rig manufacturers are hoping to address with every new design....unfortunately I wish more of them would get some talented operators to help with the design BEFORE they put the rig into production!
BTW,
I haven't seen many smiles on any operators while operating any of these setups! As far as me....I'm always smiling!