Hey Charles it went live, the 1DMKV short you flew on

[Charles Papert]

Charles - saw the pictures from this shoot and thought you were doing a great job. I can't help but think with all the other pro gear being used it would have been a fraction of the budget to be using RED bodies instead and lose all the moire and DR issues, but there's no denying this camera is flavour of the month and you have to know to work from it.

 

Not really Ed--things like Prestons don't really count, as I would use that with the Red anyway and already own it. Yes, theoretically you could say that you get better results with these cameras if you use the Preston whereas you can pull focus off mechanically on a RED.

 

Outside of that, you are talking about a bare body that costs between $1700-$5K for the different Canons, vs $18K for the RED--and as we all know, you don't just shoot with the bare body. The extra stuff most people use on the Canons adds up to less than $10K for the whole package, vs probably $25K for a similarly equipped RED. Not saying that these cameras are comparable really, you are right about the moire issue, although I think the increased sensitivity trumps dynamic range questions. I was going to buy a RED a couple of years ago, had $35K all lined up in a bank account, but the lens thing ultimately flummoxed me--I wasn't about to invest another $100K in lenses. Plus, I could see that the rental rates were devaluing fast. With these cameras, I can set myself up with everything and a set of ZE's for the cost of a RED body alone, and I do believe I can pay it off within six months, something I would definitely have not been able to do had I gone whole hog into the RED (think there are a few members on this board that have had just that experience). Yes, there are MANY issues with these cameras but as you pointed out, they are flavor of the month--I have five DP jobs lined up in front of me, all with these cameras.

[Juan M.Ramos SOC]

Great work Charles!!!!!!!!!! and great shortfilm too!!!!!!!!!!!!!!!!!

[Sam Morgan Moore]

 

I think you're referring to the stops at each end of the focal range? If that's the case, it's a bit of a crap shoot as to whether they have that option or not.

 

Unless Im misunderstanding - I mean stop at the end of the focus range indeed - so when the lense is twisted to point A is will always be focussed at distance A

 

It is ulkiely that that distance will match what it says on the distance scale (!)

 

14 2,8 20-35, 50 1.4, 28 3.5 pC, 55 2.8 etc Im talking about

 

Most of my Nikkors are 5-10 years old - maybe not new zooms 24-70, 70-200 etc

 

Surely all manual nikkors meet this spec

 

You can still but new nikkor manuals if you know where to look

 

S

[Sydney Seeber]

 

You can still but new nikkor manuals if you know where to look

 

S

In all honesty, if I were to buy lenses specifically to use with these cameras in video mode, I'd buy the ZE series lenses Charles mentioned... They're perfect for video and they don't need an adapter to be used with a follow focus, (The gears match) with the one exception being there isn't much in the way of telephoto. But since I've invested heavily in many, many other lenses, I'm going to continue to use those... That, in essence, is why I use Canon lenses. I shoot a lot of stills with the cameras as well. Manual focus is just not a very good option with the PJ-type work I do here and there

[Niall Chadwick]

Charles

 

A quick question.

 

How did you deal with the battery changes on the camera? On the 5D I used recently, I had to mount the camera over to one side of the pilot plate, in order to balance it correctly. As such it blocked the battery, making changing problematical at best.

 

It could be that we didnt have the right kit.

 

I was just curious if it was an issue for you, and how you dealt with it.

 

Many thanks

 

N

[Charles Papert]

Hi Niall:

 

On the setup I first built I used a Manfrotto quick release which then mounted to an old Hill Arri lowmode bracket. The idea was that I could slide the camera out on the QR if the battery compartment was blocked. Most of the time I fly a 1DMKIV which has a side-sliding battery so this isn't a problem. I do recommend for all who are flying these cameras to use a QR, particularly the Really Right Stuff system which not only is solid as a tank but the baseplates are contoured so that they grab the camera in more than one place than the mounting hole, plus the receiver has multiple holes so you can avoiding twisting of the body under the torque of the motor. This has been a definite issue by the way, you can see the image shift vertically when you reverse the direction of the motor. Having a positive lockdown on the camera helps this considerably. The Really Right Stuff plates are great and not particularly expensive (and allow the camera to slide sideways which makes battery access easy).

[Sydney Seeber]

Really Right Stuff plates are great

you talking about those L brackets they make? I use them for still shooting and they look pretty bullet proof... I think a whole setup only cost like 300 bucks for all the parts

[Charles Papert]

Yes, although I ordered the non-L shaped plates as I don't have need of turning the camera sideways for video shooting (and I like the HDMI protector on the 1D which wouldn't work with the L plate). They are all about $55. Got a couple different size base clamps for $60 and $132. So it's possible to get out for under $150.

[Sydney Seeber]

i was just thinking the l-shape might give it added stability for the long lenses, since it grips the camera on the side as well... It's only compatible with the full size DSLRs though, not the smaller 5D bodies. I think the side bracket leaves room for the HDMI inputs, but I suppose it depends on what you're using for a connector... Some are bigger than others.

Edit: I guess they do make them for the smaller cameras now... Holy crap, their web site is in serious need of organization...

[Charles Papert]

Yeah, I had to call them to talk it through.

 

It seems that the L plates don't really grip on to the sides, they just sit against them which doesn't really do much for stablity. The base section seems to do all it needs to do whether in the short or L version, i.e. it grips the camera fine for the purposes of keeping it from rotating without having the L portion.

[Niall Chadwick]

Thankyou for the information Charles, that will be very handy indeed. Ill see if they have a UK partner to distribute.

 

I think part of the problem was that we mounted the camera directly onto the Pilot mounting plate, and there was no rod mounting system on it.

 

But it was the first time I had exposure to the camera, and the crew that I was working with at the time, so it went well in hindsight.

 

And filmed in the shadow of the George Lucas Stage at Elstree. Being a film nerd, that was the icing on the cake :)

 

Im looking forward to seeing more examples of you flying your light weight rig, Charles :)

[Charles Papert]

well OK, here's one!

 

[Robert Starling SOC]

well OK, here's one!

 

Wow, it's hard to find the camera in there! Nice looking set up Charles; very professional!

 

Robert

[Niall Chadwick]

well OK, here's one!

 

 

thanks charles, your a gent :)

[Charles Papert]

My agent? What did she do now?!!! Oh wait. I got it.

 

Well, I'm mid-journey between a marathon music video jag with the 1D. We shot in NYC last night; dark alleys, city streets and a graveyard, all with available light between 2000 and 3200 ASA (ring light on talent). Looked AMAZING--astonishing--radical. And all that. We suffered through a long rainy night (particularly the talent, who stripped down to virtually nothing throughout the song!) but the wet streets and ambient particles in the air created some surreal looks as the camera captured the environment considerably brighter than it looked to eye. The coup de grace was the scenes in the graveyard; once again I used the ringlight augmented with carefully placed road flares that lit hundreds of square feet of graveyard.. Not the easiest way to work (they only lasted 3 minutes) but the look was insane.

 

No sign of moire or rolling shutter from what I could see--and this would have been unshootable a year ago.

 

Wish I could post stills but I'll indicate when the video is released (can't bring myself to say "drops" with a straight face).

 

Incidentally I had the pleasure of having Michael Fuchs come help us out, an excellent young Steadicam op and DP in his own right. He gamely pushed through the 17 hr shoot with the rest of us and did a great job spotting me through puddles and ankle depth mud!