Pedro Guimaraes SOC

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

http://www.technica3d.com/

 

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.

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.

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....

 

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:

 

…..

 

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.

……

 

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.

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.

 

---------

 

 

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.

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....

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...

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.

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.

 

 

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...

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" ?????

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....

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...

 

http://www.crashthesuperbowl.com/#/gallery?video=8799

Sweet! It's giving me an O face.Looks heavier than the Arri, though.

 

http://www.ocon.com/products/camera-accessories/o-box.html

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

yes, I'm brazilian.....live in LA.

 

I shot in Brazil this year....you need a carnet.

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.....

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....

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...

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...

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.

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

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

 

http://www.steadicamforum.com/index.php?showtopic=12715&st=0&p=59824&hl=glidecam&fromsearch=1entry59824

I have used the ALOT this year,

 

They are not even close to my transvideo........ABSOLUTELY not 1000nits....they are almost unusable during the day.

 

 

As a recording device it is brilliant. used with Arri alexa recently.

 

For 3D, the cinedeck is amazing. I have used the 3D cinedeck on 5 different 3D steadicam jobs this year. Work great. Survived the amazon and Africa with me this year. In very challenging conditions.

 

 

I have used it as my steadicam monitor once but strongly advise against that since you'll be flying blind. Cinedeck did tell me they were planning on a "daylight" version soon.

 

As described, it does have it's faults. It is a PC after all. In 3D mode is freaks out sometimes and you need to wait for a reboot....It overheated once...the touch screen doesn't have a "lockout" screen....the SSD's you use to record on sometimes fail (much less recently)....and a few others. Even with it's shortcomings it's a great solution especially as they continue to improve.

 

here some pics....

 

 

 

Low mode on a larger(heavier) beamsplitter. look how tall my post is!

 

 

That tall post is one of the reason's that the Tiffen rigs are ill-suited for flying large payloads

 

Just saying.....

 

Not sure I understand? The post is tall because we had to extend it so things would balance out. The shorter the post the more batteries/weight we would have to add. To balance this rig out, the post was fully extended and we had to use 4 batteries!!! So if anything a long post is a good thing!

 

The ultra2 may not be the best suited actually because of the tilting top stage makes the total stage height longer/taller. Thus increasing the distance between gimbal and the base of the "camera". The longer this distance is .....or the farther the gimbal is from the camera.....the more you have to extend the post and add battery weight.

 

On my PRO2/XCS post rig the minimum distance from gimbal to camera is much shorter than the ultra2. making it better suited for most 3D work...