Pedro Guimaraes SOC
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Posts posted by Pedro Guimaraes SOC
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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.
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Lets look at some of the rigs that are currently being used that you may encounter.
***** First off…..make sure your stereographer is always communicating with you when he changes any setting on the rig since frequently this causes and imbalace…..especially dangerous when calibrating. *****
Element Technica “Dark Country” sun-miniature beamsplitter
Arguably the easiest flying steadicam rig on the market since it’s tiny and weighs less than 20 lbs…It gets its name from the first movie it was used on “Dark Country” in 2008.
Whats the catch?
You can only use Si-2k cameras and whats worse….only use certain c-mount lenses, even then your restricted on what c-mounts will fit. Also for the stereographer the rig is very manual and hard to adjust at times.
As far as flying this rig, it’s like flying a 5D! You can pretty much run around all day there are really no restrictions.
Here are some pics of me flying this rig…
Here are some pics of the man Dan Kneece,SOC flying it on a music video...
here it is Handheld with me in the amazon rainforest....
It's size is really it's biggest asset.
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VERY HEAVY BX3 with red cameras low mode...in the rain no less...oi vey!..operator Dave Isern, SOC
I'll stop scaring you there.....next topic.
Lens Control/Wireless FIZ
First of…dont’t worry about it…
Because of the specialized nature of the rigs or additional parts required. Generally all the wireless rig control and 3D FIZ control will come with the camera package.
FYI:Many times to save weight we only hook up focus control.
Generally your 2D Bartech or preston will stay in your case.
Right now Preston and C-motion offer 3D support....I heard rumors about Bartech 3D focus...but I haven't tested so I won't comment.
Preston
For full FIZ we use 2 MDR’s an 6 motors. There is a 3D mode in the HU3. This allows both focus motors to move as one. It also allows you to move one motor at a time to line up focus marks on both lenses.
At this time it does not have the ability to “map” one lens to another.
Also if 3D Rig control is needed a third MDR is added to control the IO and convergence motor.
All this results in a lot of wiring…and weight! Thus C-motion is more prevalent 3D control at this time.
Useful link on prestons website. About the 3D mode
http://www.prestoncinema.com/Manuals/3D%20Rig%20Calibration.pdf
C-Motion
C-Motion has a huge lead in this area. The new version of the C-motion is called the “Cvolution”
It features a new single 8 motor receiver "Camin" (...like a preston MDR) that really cuts down on weight, wires and complexity on 3D jobs. It reduces the need of 3 MDR’s down to a single small unit!
here is the MDR or as they call it the "Camin" The picture might be deceiving as it is smaller than a MDR. Since it has 8 motor port is reduces the number of MDR's from 3 to 1.
Also, the new firmware lets you "map" lenses. Gives you 31 "keyframes" so that both your lenses always fall on the same markings on the lens.
The new handset has a small LCD display and is very flexible in it's configuration giving the AC ultimate choice how to setup the unit to his liking. Most of all maintain control over the lens functions and rig functions. It can also flip left to right for left handed AC’s. It has adjustable torque for the wheel and many other amazing features.
Also, soon they will have firmware update that will add the ability on any 3D rig to change your IO while maintaining a convergence point.
Due to the fact the the C-Motion eliminates a significant amount of weight (especially when you use the smaller heden motors) it is quickly becoming the industry standard wireless 3D FIZ and rig control device.
Naturally I’m biased, since I used them so much that I recently bought a Cvolution unit myself. It's available for rent if you ever need one.
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Low mode 3D
Most of the time I just go "poorman" style and just flip my rig over. They just flip/flop the image in post later. Although with the ET rig you can actually mount it from the top if you wanted....sort of has a built in lowmode cage.
Naturally shooting low mode with these heavy rigs is a real back breaker….so as often as possible use a hardmount on a dolly or something…
The other issue you will find is leg clearance is tricky. It becomes very easy to bump the rig. Small steps…
a few examples
small neutron rig
medium sized p+s rig
bigger BX3 rig....
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3D and steadicam movement.
Not surprisingly, steadicam moves in 3D are so effective!!! In some cases it’s use really needs to be thought about story wise. In 3D you really feel the camera moving.
Which is why handheld 3D is not so great.
So that’s great right! 3D steadicam gigs for everyone! Well…..not so simple.
Unfortunately, steadicam shots usually involve someone or something close to the lens. Thus pretty much requiring the use of a beam splitter rig so the lenses can be close together.
With micro cameras…..Iconix, Cunima, LuxMedia, Si-2k and a few others you”might” be able to use a parallel setup for steadicam. Given current broadcast standards for 3D and current trends in the feature film. It most likely require a beamsplitter. It is rare you will be asked to shoot on a side by side rig on a steadicam. I have done it a few times….but none the less most of the time you will be on beamplitters……
here is a Iconix 3D rig...As small as that separation is .....many times especially for features with a theatrical release you want to have a even smaller separation.
Beamplitter rigs are heavy….there are 2 cameras…..2 of everything! Yeah think about that for a sec!
The other main problem is their size and shape. Forget dynamic balance. All beamplitter rigs are front heavy! I mean really front heavy. Not to mention with that much weight you not going to be whip panning anyway. Also for 3D viewers whip pans might not be the best move.
Counterbalancing a 3D rig is always the biggest challenge. Being able to move your battery weight far back is crucial.
Counterbalancing all that weight while trying to maintain a shorter post requires a lot of battery weight! Or a long post….
The frequently long post your forced to go with then complicates stairs and ground clearance. Important when riding vehicles….which you do a lot with 3D steadi since it’s so heavy….dollies, camera trucks etc…
Also moving that batteries so far back can make switching all but impossible.
The “mirror box” on a beam splitter is basically a huge fucking sail! If it’s windy forget it! I’ve had a few shots ruined by a gust of wind. I mean just look at it….It’s a wind catching device!
The biggest complaint I have from steadicam operators I have worked with as a stereographer (I don’t always operate) is that it makes them look bad. The setup ends up compromising their operating so much that the director doesn’t see the challenge the operator is facing, he only looks at his monitor. This is the challenge with 3D.
Camera operating and 3D…..
The operator usually is looking at a single camera view only. Usually the one that is looking thru the mirror (avoiding having to digitally flip the image and possible introduce a frame delay)
Usually the stereographer is monitoring both eyes during shooting. It's his job to worry about the 3D. Your job as stedicam operator is to listen to the stereographer and the Dp's instructions and focus on the most important task at hand....getting the frame they want and delivering smooth shots.
Just like in 2D. 3D is not different in this regard.
Since a large portion of steadicam operating involves being close to a subject, your IO distance will generally be very small....in the range of 1/4" to 1.5" at this camera separation it is acceptable for you the operator to operate from a single eye view since parallax will not be extreme and there is little chance of you occluding objects by looking at a single camera.
The only person on set that needs to see a 3D or muxed image is the "stereographer". Even then, most of the experienced stereographers are really only looking at the parallax values we see on the multiplexed image on a 3D monitor. Most of the time the experienced stereographer’s won't need to use 3D glasses.
On set 3D monitoring is more for video village people, Directors, producers, clients. The usual lot that need a pretty picture.
In general, as an operator all you want to do is keep things from the edge of the frame. Sometimes in 3D these are called “edge violations” so keep things a bit looser, no haircuts as this will give the sterographer in post production the most freedom to adjust convergence and place the screen plane where he wants.
To reiterate, concentrate on the operating. Let the stereographer monitor both eyes and worry about the 3D. It is HIS JOB.
If he see’s something that is a 3D problem like headroom, edge violations etc…..he will point them out to you and you will adjust.
I can tell you that if anything….what you will hear the most is frame looser! Which makes our lives easier.
The reason for this is that many times they will converge in post and have to scale in the image. Thus loosing the edges of frame, so by keeping things loose they are safe to adjust. I usually set framelines for this.
But basically, listen to the boss. The DP. Do what he says. If there is a 3D issue the stereographer will discuss with the DP or you. Your job is to keep things level and stable....naturally to give DP the framing he desires. In that sense, 3D is no different.
What is different is that your handling a heavy RIG!!!! that is sometimes moving on you!!!
Which brings us to my next point of conversation.
3D rig movement on your sled during a shot!
As if this wasn’t complicated enough!
What might happen during a 3D shot?
The stereographer or in some cases the “convergence puller” might “pull” convergence during a shot.
Most of the time this means (usually) one of the cameras on your rig will PIVOT on it’s axis. Meaning it will toe-in, usually if it’s a slow pull you might not feel it or easily be able to compensate. Especially after a rehearsal or the first take. This is not a huge issue.
The other adjustment that might happen is a change in lens distance…..IO “pull”. This means that the cameras will spread apart or come together……uhhh…OMFG! This is a huge shift in weight and is not something you can usually compensate for.
An example of such a shot:
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Long hotel hallway….actor at the end of the empty hallway.
You start from 40ft away and walk fast towards the actor while he sits there and you end up in an ECU 2’ from his face while he does his acting stuff.
Scene.
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On a dolly (where we have no balance issues) the stereographer might choose to start the shot with a 2.75” IO and pull the camera’s together so that when you end up in front of his face he is at .25” IO.
So imagine moving a 30 odd pound camera on your sled 2.5” !!!! Your post would want to flip over on you. Even if you countered with a motorized stage it would not be enough.
So how do we do this shot?
First off…..make sure your stereographer is always communicating with you when he changes any setting on the rig since frequently this causes a severe unbalance…..especially dangerous when calibrating motors.
There are a few solutions.
The easiest…..and often used on rigs with no counterbalance device. No IO pull. Done. Moving on!
The stereographer just sets a IO that will work for the whole shot and it’s a big compromise in terms of 3D but what can you do? Often this can be made to work and surprisingly less of an issue than most think. But it’s still a compromise.
The other option is for the 3D Rig to counterbalance the IO movement. There are a few ways to do this.
P+S technik FREESTYLE rig – Invented by steadicam operator Phillip Bordelais
This rig moves the opposing camera in a direct 1:1 movement of the other. One camera goes left the other goes right.
In the real world…. doesn’t work so perfect. This solution definitely improves the unbalance to the point where you can compensate and after a few takes anticipate and pull off the shot. The problem is the weight is never the same on the top and bottom camera. This results in a inherent unbalance. Also if the convergence puller doesn’t take care when he pulls he can “torque” and unbalance the rig. just like reving a big V8 at a stoplight….you will notice the whole car torque to one side. This can also happen in this kind of setup.
PACE steadirig – Used on avatar, Resident evil and others
The pace rig just like the Freestyle also counter balances the camera movement but instead of moving the whole camera like the Freestyle. It moves the rig mounting point (where your dovetail mounts.) This solution works that same as the freestyle essentially and exhibits the same problems.
Here is a detailed view of the movable camera mounting plate underneath a pace rig. Seen here on Greg Smith's rig during a movie I worked on recently. You can see the rails that the rigs slides on left to right via motors and remote control.
Prototype 3D rig I can’t talk about – I have talking with a manufacturer about a better solution and they will be coming out with it in the near future. The design should address the problems of the above methods and reduce the side effects….stay tuned.
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For those of you that don’t know me, I’ve been shooting 3D for about 3 years now and thus also work as a “stereographer” (kinda like a 3D DP). I’ve done 3 features, music videos, commercials, broadcast events and countless other projects. Working my way up to a stereographer position thru working as operator, 3D rig tech or convergence puller.
At this point in time I have flown about 9 different rigs! So I feel like I can at least start the conversation on this topic.
Unfortunately I feel I should start this off with a short 3D primer, then talk about steadicam and 3D.
Read on if your interested and have some time, I decided to make this in depth.
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First we should start with a little quick info on stereoscopic capture.
Just the basics…..really the basics only. Read on. There are tons of information on this all over the net…….this is just the 2 year old version.
Humans have 2 eyes, the brain takes that information and gives us depth perception.
To trick the brain into seeing depth on a FLAT screen (or flat TV set) we have to present separate views of a scene to each eye. Each view has to present a slightly different angle from the other. Each view has to have a horizontal offset to achieve the illusion. We can do this many ways.
Today we achieve that with 2 basic camera “rigs”.
“Parallel rig” - Basically 2 separate camera set side by side.
“Beamsplitter rig” – 2 cameras at a 90degree angle looking into a 45degree mirror that has a “reflective” side and a “transmissive” side. (The mirror is essentially a 1 way mirror like the ones found in manager’s office in nightclubs.) So one camera looks thru the mirror and the other see’s a reflection.
This enables us to virtually place each lens closer than we could physically.
Why is this important? The EXTREMELY simple 2 sec. explanation…. is that the closer you are to something the closer both lenses have to be to each other. The farther away you are, the more distance in-between each lens. Keep in mind there are numerous factors that affect the stereographer’s choice of separation. It’s not always that simple of a consideration, but basically that remains true.
As an example, for this wide stadium shot I did for the FIFA world cup 3D Blu-ray I had a large separation on a “parallel rig”.
Or look at the large separation on this helicopter rig for example
(For a shot of a space shuttle launch you might use 1500ft or more of camera separation!)
Now on a close up on an actor where we might be 5 ft away from his face. We might use a lens separation of ¼” or less!
So the 2 basic adjustments the stereographer will always be making on a 3D rig will be.
“IO” - (Inter Ocular Distance) also known as IA (Inter Axial). They both refer to the same thing……the distance between the lenses…..tomaeto/tomahto
“Convergence” – This is the pivoting of one or both cameras (depends on the rig) inwards…..as in “toe-in”. This is done to adjust where the “screen plane” is in the image.
That should be enough 3D talk to get us started……if you want I can go on and on about 3D stuff……but to talk about how it affects steadicam that should be enough.
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just don't pivot with them or you'll blow your knees out!!!
might be stating the obvious but...
I bought my rig from a operator that was working for NFL films and was wearing cleats and during a whip/body pan type maneuver the cleats dug in and his body keep twisting....3 surgeries and 3 years later he was holding onto hope to operate again but he finally picked up the phone and called me to see if I was still interested in his gear.
I was doing a football scene awhile back with cleats(it was muddy cuase the director liked it like that) and always on the back of my mind....
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No dual MDR's needed. In fact no triple MDR needed either...
Normally for 3D you need total 8 motors.
2 focus
2 iris
2 zoom
1 IO rig adjustment
1 convergence rig adjustment
Thats 8 motors and 3 MDR's
No longer!!
I now only use (I actually own one) the new C-motion Cvolution wireless focus system. I has a 8 motor "camin" aka MDR. Better yet it is smaller and lighter than a MDR.
This reduces weight, cables and alot of complexity with 3D FIZ and rig control. From 3 MDR's to 1. It's fucking awesome.
Also you can see a seam in the pic? Yeah if your a weight weenie, when shooting 2D you can split the box in half loose some weight and have an even smaller camin/MDR for 2D use...
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My best advice is to work with your production company it's thier job to figure this all out. Don't bend on this. Why do the producers job?
your job is to give them a list of your equipment.
In the absence of competent producers or if your on your own......my best advice is to visit the Brazilian consulate and talk to the service desk. They will give you correct information and you will not have any surprises this way.
Your production company is required to work with a brasilian production company. They have to file a document with ANCINE (I think) before you can then take that document to the cosulate to complete your paperwork.
it can be complicated.....like I said go to the consulate!
or tell the producers to figure it out.
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Done 2D and 3D with alexa...
I also don't feel the need of low mode bracket...
3D setup was.....well stupid. Extremely heavy.....can't wait for RED EPIC for 3D work.
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Yes the further back travel was added specifically with 3D in mind.....BTW....since we always have to add alot of weight to counter the front heavy beamsplitter rigs...
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This looks very promsing as a cheaper wireless HD directors monitor....might even perform better than Wei HD or titanHD.....the size and weight are also very attractive....
anybody here have any first had "field reports" ?????
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Not yet Charles. My point is there will be. B)
ummm.....maybe. The epic is much more expensive than a RED one! $28k vs. $17.5 for body only. All the assories will push the epic past $50k real quick. Epic is more along the lines of ARRI Alexa which is $63k. I don't see many low budget shows shooting on alexa or epic.
I do not think low budget shows will be shooting on epic.....probably still the Red one. Red one MX chip I think will be in use for some time.
With th release of the SCARLET yes. THis wil be more of the pricepoint of most low budget shows....
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Sure some of you have heard about the doritos commercial contest for the superbowl. Got a call from some friends to help pull off the directors idea. I figured why not, if they win I get a nice cut of the winnings and it was close to my house and took a few hours of my time to help them out.
Great concept, but he had to fit the whole shot in 30 seconds and choreograph the action accordingly. All in all it came out pretty good I think. We did about 9 takes I think....don't think the picked my best take from a operating perspective but I'm sure there were other considerations. For a quick and dirty shoot, I think it came out pretty good....
what do you all think? ....kinda of a John Cleese vibe...
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Sweet! It's giving me an O face.Looks heavier than the Arri, though.
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Yes, around 5 different jobs this year. Africa, Amazon jungle and a few in the USA....so you can say I had some experience. Also on 3 different rigs. (I'm also stereographer.)
I going to make a 3D steadicam post since there has been lots of 3D posts lately.....I include lots of pics.
Then again.....I have a ton of pics on my website...
www.pgfilms.tv
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yes, I'm brazilian.....live in LA.
I shot in Brazil this year....you need a carnet.
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Pedro has me even more confused as well. It SEEMS like Pedro is saying it is 70 lbs including the sled, monitor, batteries. As he seems to confirm here:
Like I said it is about 70lbs including your sled monitor etc..A G70 and a Pro arm theoretically max out with ~70lbs total on the arm. If the total "camera weight" is 70lbs, the additional weight of the sled/monitor/battery would overload the arm, which no one is saying happened. I have definitely seen steadicam arms take far more weight than rated for (on a Flyer), so 70lbs of camera weight is not out of the realm of what I wold believe, hence my willingness only to guess and hope that is incorrect. Which I still guess and hope is the truth!
It's not unlikely I just need to see the fully built rig on a frickin' scale before I come out of denial. :)
We did not put it on a scale. Sorry.
Complete ready to fly.....cameras, motors, batteries, extra weights we used...READY to shoot.
all black canisters.....rig was NOT sinking on the arm. So that how I get my guess of around 70lbs. Since it's rated to 72.....
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I was thinking the same thing when I saw those pics Bob. Though on the vehicle mount shot I noticed what looks like another 2 batteries hanging further off the back of the base, with a cable or bungy cord going back to the post. Plus cables coming out of the batteries heading to the post as well. Hmm?
It does look like 4 blacks in the Pro arm though.
JP
Yes, 4 blacks on the arm....like I said around 70lbs..
and yes......there we had to make a alum. plate that basically extends rearward. On the back of that plate we mounted 3 dionic 90's and a few extra "weights". Because of this weight being so far back we had to add a "brace"....this is what I meant by modifications....
I look thru my pics and see if I can find a pic of the "modification".
with this weight so far back we were able to keep the post shorter than other setups as you can see in the pics......otherwise you post would be maxxed out. I have operated like that this year with another 3D rig and it sucks. Maxed out the g70 arm I was using at the time....
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Just to clarify, The Pace "studio" rig with cameras etc..... is definitely more than 70lbs.
the steadicam rig is "lighter" and very different. Like I said it is about 70lbs including your sled monitor etc..It has a smaller mirror box and the dovetail where you mount moves opposite the when the IO changes on the rig......in an attempt to maintain balance when the stereographer might change the IO on you.....
communicate well with the stereographer and or the "convergence puller"...some shows don't have one or the stereographer will be the one pulling the convergence or IO.
I think it's about time I make a 3D steadicam post....I think I've flown 7 or 8 different 3D rigs now...
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Hardmount is usually the way to go......obviously.
So we did some of that...this was for a "walk and talk"
Greg Smith A-cam operator, Paul Santoni 1st and in the front seat is Brook Willard our DIT....
P.S- I did get a call for this but it was months ago.....never heard back...
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I'm also a stereographer. (kinda like a 3D director of photography)
Just wrapped a movie called Shark night 3D with Pace gear. Greg Smith was our operator, I helped him setup the his steadicam....
2 F35's and the PACE steadicam rig. Took alot of customizing....
It's a bit lighter than the same Alexa setup that McConkey is hustling in the Scorsese movie.
Just about maxed out the PRO arm. So 70lbs about right...
here some pics...just a few weeks old. Greg took the modified pieces straight to his next 3D movie. Is currently operating on.
But I'm available.... :)
he let me test it out...took it for a test drive...see what he was in for....
notice the AWESOME thick tether otherwise refereed to as the "loom".....
That said, switchovers are impossible....it's heavy.....you can't really run with it....going up stairs would be a challenge....it has alot of mass to move around...
It's doable but doesn't allow you to "steadicam" as normal...
Biggest problems are a "vibration" that comes thru the rig at times.... we did a mod to help address this but every once in awhile I would still see it. The other problem is that you really can rotate the rig 90 degrees since your gimbal hits the bottom camera.....needless to say this can really limit your operating.
For the Record.
All that said there are MUCH better 3D steadicam setup's I have flown... pace's setup is really challenging to deal with.
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the keyed post on the new cine is a great feature...I checked it out a cinegear....also the hotswap on the battery stage.....
my .02 cents
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Hi,
Buying a digital camera is always a risky endeavour. Technology moves so fast as soon it will be outdated and loose alot of value. leave cameras to rental houses is my thought...
...unless you can put the camera to work constantly where it makes financial sense.
as far as steadicam,
I would just say focus on your DP career. The guys are right, save your money for lean times etc...
Then again, you know best.....it's you bank account.
I would recommend the glidecam gold below. 16k in great shape, cases cables etc.....this will work great for RED work....its a very capable system
3D Steadicam
in 3D Steadicam
Posted
Element Technica “Pulsar” medium sized beamsplitter rig.
http://www.technica3d.com/
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!