Tanner Stauss

Indeed.

I now have an excellent idea of what is needed as far as equipment, whether or not we can all keep the creative elements intertwined will be the challenge. The best films are never easy, and they shouldn't be, it wouldn't be fun that way. So, we'll see where this goes.

Thank you everyone so much for all the advice, suggestions and comments, it has truly helped. I look forward to keeping you updated on this project and I hope to report good news.

If anyone else has a thought, shoot.

Yeah, over heating is definitely on my mind too. I've had those problems even on shorter takes around 10 minutes or so. But I don't know what the ambient temperature is going to be, that will play a factor. Anyways, as you said Alfeo, test test test. For sounds sake, I hope we can figure something out.

Great, thanks Alfeo. That's pretty light-weight too.

Brant I couldn't find what you were talking about. Do you have any other info on it? And I definitely think we will go with some A/B batteries or I am really interested in using the IDX/Steadicam Power Cubes. They are super lightweight, and thats what I'm looking for right now.

Yeah, I get that, absolutley. There will be much testing. Thanks Afton.

You can easily have a life meter added to your rig or you can go by the bars on the battery itself.... Although, it doesn't really matter does it? If your doing a 'oner' you will either have enough juice or you will not?

I suppose, but it wouldn't hurt to have piece of mind at a quick glance. I will certainly go with a life meter if it doesn't read out on screen. Thanks.

Thanks for the input so far everyone, it's really helpful and appreciated. I have a production meeting on Wednesday so a lot of things are going to be addressed and squared away. Testing and rehearsing will start soon as well. I was off on another shoot so sorry for not getting back to some of your posts right away.

If I were you I would design the shots with built in cutting points, like full frame wipes, cornering around objects, etc. whatever you can think to break it up, so if the Red goes haywire, or the lead actor forget his lines 5 min. from the end, you only need to do the last segment.

That's a great idea Dan, I'll bring that up at the meeting. The way the set is going to be designed I think that would be an easy thing to do. There will be a lot of walls, doorways, etc. that will be passed.

Something else I thought I would mention, the set: it is more or less a giant star/circle shape. different rooms make up the circle in somewhat pie slice shapes. we will always be looking inward towards the center of the set and moving around once inside a room with walls that will lift and drop off frame. There will be a dolly and track surrounding the outside of the set and when I pull out of one room I will be able to sit on the dolly for small periods that will allow at least a small amount of rest for some parts of my body. As most of you probably know sitting with a steadicam is not much different on the back strain, but will at least take weight off the legs and make the whole thing more bearable. Also the first 15 minutes or so of the shot will be outside leading into the stage and the set, including an elevator ride and a car ride.

Contact Benjamin Treplin. He shot Russian Ark as I remember.

 

Tilman Buttner shot "Russian Ark".

Yeah, I am very interested in speaking with Tilman. I speak fairly good German, so that helps. If anyone can help me with getting in contact with him that would be great.

Also realize that if this was a NASCAR drivers web site, you basically came on and said, "I just got my drivers license and I'm going to race and win Datyona this year, do you guys have any thoughts on how I should set up my car?".

 

 

I'd for sure go with an LCD monitor even if the whole thing was in screaming bright daylight (but that starts to become a personal opinion).

 

For the drive I'd go with a RED-Ram which is less likely to drop frames but depending on your recording mode may or may not have enough storage space.

Mike, I understand and completely agree with your views of "an intimate connection between man and machine". I certainly have that connection and love every second of flying a rig and being an integral part of the process. But you're right, I am asking technical advice. If someone wants to throw in a tidbit on how they would operate the shot, that's great, but that's not what I'm worried about. I'm more concerned with building the best configuration so I can bring out the best shot in my abilities. I never insinuated "winning" or beating anyone by any means. I'm not trying to steal any glory here, just utilize the experience of some of you professionals. Tell me if I'm out of line here. And trust me, I'm grateful to all the advice that's been given so far and it will be utilized.

Per your helpful suggestions:

I think I will go with a RED LCD. They have a great image, very lightweight and ~90% of the shot will be indoors. If it's too sunny outdoors, I'll rig some small cardboard shade around it or something.

We will not have enough space on a RED-RAM. I would've liked to have used that too, but it won't work. The Element Technica Shock Mounts do a good job with preventing drop frames on the RED Drive so I think it will be fine.

And I will definitely be doing rehearsals on something smaller. I might even just hand hold some of it for memorizing choreography.

Question: Do you happen to know if the Dionic 160's show battery read-out on the RED display?

Thanks Mike.

I just thought of this if not sure if it would work though what about IDX Steadicam Power Cubes with a hot swap adapter on the sled rather then the camera?

 

Light batteries, and if you have a steadicam sled you can put up to 4 batts on it

 

Would this work?

Steve, I'm definitely going to look into these. About 1.5lbs each, that's great. Thanks.

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

 

Making a good movie is hard enough but to do it in a style of ER, which was really good filmmaking and storytelling, would accomplish a lot. You'd be the first to do that and if its a well told story using Steadicam your name would live in infamy.

 

This would do all the things everyone has suggested but be manageable for you; the crew; the actors; the director, etc. This would also allow the filmakers to use the elements of time shifting to tell the story. Sadly most stories are not good as a single tense narrative which a 'one-taker' is probably confined to.

Janice,

I like this idea too. Of course, ultimately, it is up to the Director and the DP to decide what will be done, I will try to be ready for whatever that is. It is a great script, and has very interesting characters. Also, like you said, there will be certain aspects of time shifting that will be incorporated with interesting set changes(moving "through" walls, stylized tunnels, etc.) and subtle digital imagery. We will be making every frame as dynamic as possible and the time shifts interesting but believable. This is the goal.

Thanks Janice

To the rest of everyone so far, thanks. Most of this has been very helpful. So most of you know, this is a huge undertaking for me, as it would be for anybody, I think. I am just trying to prepare myself, the equipment and the technical concept the best that I can. A lot, if not most of you, have been operating since or before I was born, which is exactly why I came to this forum so I could get the experienced advice that I was looking for. I am thankful that most of you are willing to pass on your knowledge and assist someone who wants to grow in the same industry that we all love so much. I am thankful for internet that I may reach out my fingertips and gain so much so quickly from so many different minds. And I am thankful for many other things that has at least led me to this point, which I intend to continue to surpass. I got this job how most of us got our early jobs: connections. Also, the filmmakers saw some of my work, liked what they saw and made a decision based on that. To say the least, I am very happy to be a part of this and will give it everything I have and more.

I'm sure I will have more questions soon. I also look forward to reporting the status of this project as it continues, however it may unfold.

Tanner

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

I agree that the Optimo lens in question is a little big. I think it's around 10 pounds, I would of course like something smaller. Any suggestions on something in that focal range, but smaller and not compromising too much light loss?

Also, what are suggestions on the best sled and arm combo to use in terms of functionality, comfort and weight?

Thanks so far guys.

Hello all,

this is my first post here on The Steadicam Forum, glad to be here. I have already posted this thread over at REDuser.net and I am looking for some more specific advice than what I am getting there. I will just copy the body of text below of what I posted there:

"So, we are about to embark on an incredible and challenging cinematic endeavor. A feature I am working on in February is going to do a single take steadicam shot. We will be taking the film in around 100 minutes. The film will be shot in the Republic of Georgia in the capital, Tbilisi.

I will be doing the steadicam for this film and I am preparing now physically, mentally and technically. I am openly looking for any suggestions on steadicam equipment to use as well as light-weight and effective accessories. If you have a hypothetical camera setup idea, I would love to hear it. Also I would love to hear and see photos about some of the most bare bones, light-weight camera setups used with the RED. I have used many different steadicam rigs, and I have some ideas, but I am very open to suggestions and testimonials. Of course, I would like something as strong and light-weight as possible.

We will be shooting on the RED with an 18-70mm T2.2 Optimo accompanied by a Preston "FIZ"(focus, iris, zoom).

We understand that this is no small feat and that many many factors will play into the success of this film. I and our 1st AC are doing our part in preparing in every way we can at this point. I am looking forward to this challenge and can't wait to make history."

Let me just say that I am only looking for technical advice and suggestions here, I did not make the decision to shoot this film in one shot, but I am very excited to be operating it.

Thanks in advance for any suggestions.