Wish I had seen this before ordering my red rock micro rig, no drama's the follow focus can be used on any rig.
http://www.cinema5d.com/news/?p=1474
Saturday, January 30, 2010
Tuesday, January 26, 2010
Wireless Proprosal
This isn't perfect yet so bare with me, it's as much as I could to do tonight and it's very important to plan exactly what goes into to where. I'll have the final list of steps including and B&H wish list ready for you by 6PM tomorrow.
Please let me know if the B&H wish list doesn't work. Thought it was the most straight forward way of showing you this stuff.
SD Wireless Solution
HDMI => HDMI Mini to Standard HDMI Cable [$30] => HD Downconverter [$271.95] => RCA to BNC Cable [$15] = Transvideo Wireless transmitter [$2,749.95] => Transvideo Wireless receiver => BNC to RCA Cable [$15] => Video Mixer [] => Into display splitter.
HD Wireless Solution
HDMI => HDMI Mini to Standard HDMI Cable [$30] => AJA HA5 HDMI to SD/HD-SDI [$490] => HDSDI CABLE [$50] IDX CW-5HDAB Cam-Wave HD TRANSMITTER [$ 5,799.95] => IDX CW-5HDAB Cam-Wave HD Wireless receiver =>HD Downconverter [$271.95] => RCA Cable [$15] ==> Video Mixer [] => Into display splitter.
Wireless SD Proposal
http://www.bhphotovideo.com/wl/2F474A4CF9
Wireless HD Proposal
http://www.bhphotovideo.com/wl/2F475FA9B9
Please let me know if the B&H wish list doesn't work. Thought it was the most straight forward way of showing you this stuff.
SD Wireless Solution
HDMI => HDMI Mini to Standard HDMI Cable [$30] => HD Downconverter [$271.95] => RCA to BNC Cable [$15] = Transvideo Wireless transmitter [$2,749.95] => Transvideo Wireless receiver => BNC to RCA Cable [$15] => Video Mixer [] => Into display splitter.
HD Wireless Solution
HDMI => HDMI Mini to Standard HDMI Cable [$30] => AJA HA5 HDMI to SD/HD-SDI [$490] => HDSDI CABLE [$50] IDX CW-5HDAB Cam-Wave HD TRANSMITTER [$ 5,799.95] => IDX CW-5HDAB Cam-Wave HD Wireless receiver =>HD Downconverter [$271.95] => RCA Cable [$15] ==> Video Mixer [] => Into display splitter.
Wireless SD Proposal
http://www.bhphotovideo.com/wl/2F474A4CF9
Wireless HD Proposal
http://www.bhphotovideo.com/wl/2F475FA9B9
Monday, January 25, 2010
Technical Breakdown
Shot 001
This shot wasn't tracked very well as there is plenty of float. Possibly done in AE however I would recommend something with a better tracker such as shake or even Mocha like you suggested.
Doesn't appear to have depth so no camera used.
Be aware though AE and shake use the point tracking system and Mocha uses planer tracking technology which is very different and is used in different circumstances.
Shot 002
Also another bad track, bit of float but nice bit of roto for integration, This also looks to be be done via a point tracker.
The depth you perceive in this shot can be accomplished mostly via the tracking.
Shot 003
This stuff is quite nice. First off they would have got a point track, there is a bit of slip but doesn't matter for this sort of thing.
Then say; new camera in AE. Brought all the text forward in Z depth and then flew the camera to the left and right.
Then all they did was add that glitch plugin
Shot 004
Masking for this.
I can do all this stuff, if I had the energy right now I'd make you a little demo.
Oh and I forgot to give you that compressor preset for the H264 footage. I will do that tomorrow night before bed. I should be able to send it via email.
I'll let you know if I can't.
This shot wasn't tracked very well as there is plenty of float. Possibly done in AE however I would recommend something with a better tracker such as shake or even Mocha like you suggested.
Doesn't appear to have depth so no camera used.
Be aware though AE and shake use the point tracking system and Mocha uses planer tracking technology which is very different and is used in different circumstances.
Shot 002
Also another bad track, bit of float but nice bit of roto for integration, This also looks to be be done via a point tracker.
The depth you perceive in this shot can be accomplished mostly via the tracking.
Shot 003
This stuff is quite nice. First off they would have got a point track, there is a bit of slip but doesn't matter for this sort of thing.
Then say; new camera in AE. Brought all the text forward in Z depth and then flew the camera to the left and right.
Then all they did was add that glitch plugin
Shot 004
Masking for this.
I can do all this stuff, if I had the energy right now I'd make you a little demo.
Oh and I forgot to give you that compressor preset for the H264 footage. I will do that tomorrow night before bed. I should be able to send it via email.
I'll let you know if I can't.
Sunday, January 24, 2010
Ravi's Breif for Video Promotions
Love that music (these i like the best)
http://www.youtube.com/watch?v=Ns2QzfjMVAo
http://www.youtube.com/watch?v=8PVJQxpRcQM
dakota (this is the type of patrons shots, i'd like to get - of course with above link feel as well)
http://www.youtube.com/watch?v=yd3vfvF5PD4
http://www.youtube.com/watch?v=NIbLAm5S8ZM
eve
http://www.vimeo.com/6577099
http://www.vimeo.com/6241689
http://www.youtube.com/watch?v=Ns2QzfjMVAo
http://www.youtube.com/watch?v=8PVJQxpRcQM
dakota (this is the type of patrons shots, i'd like to get - of course with above link feel as well)
http://www.youtube.com/watch?v=yd3vfvF5PD4
http://www.youtube.com/watch?v=NIbLAm5S8ZM
eve
http://www.vimeo.com/6577099
http://www.vimeo.com/6241689
Friday, January 22, 2010
Club Vox Pops Proposal
Club Vox Pops and Crowd Reaction Steadicam
Issues and concerns
1. I won’t be able to record/transmit video continuously whilst in the venue therefore I must have access to a video switch and the ability to playback some inconspicuous content from the previous weeks via computer at 1080i/720P/PAL. Preferably from remote location so that I can switch it myself and I can control whether I’m live or not.
1. Alternate possibilities include having a secondary 7D, 5D MKII or 1D MKIV posted in I high traffic location that I can cross to. Maybe cool to make it a feature by placing it in a sealed box of glass or perspex. Also suggested would be a wide lens or fisheye. Possibly a motorized, for 360 degree rotation or along a track.
2. Sound is major concern in regards to doing vox pops if that’s going to occur and by your brief intro of the gig. I’m going to need purchase some serious professional audio gear to get anything half usable in a club. If it was just for interviews of bands etc, I have quite bit of experience doing that type of production and the quieter the room the better. Sound is most important with the interview format.
3. I now have some major doubts on having a wireless HD video transmission. Most likely the best we can do is wirelessly will be SD however this may be antiquate as most venues rarely invest in full 1080p screens anyway. Also getting a quality signal of SD on the cheap is questionable. This may be a company expense...
Production List (owned)
1. Canon 7D
2. Canon EF 50 mm f/1.8 II
3. Steadicam Merlin
4. Sandisk Extreme CompactFlash Cards [x2] [total recording time at 1920x1080p = 98 mins]
5. MacBook Pro
6. Lexar UDMA CompactFlash Card Reader [40MB/s]
7. Canon LP-E6 Battery Pack [x3]
Production List (to be purchased depending on all situations)
1. Earplugs
2. Noise canceling headphones
3. Sennheiser SKM300-845 G3 Wireless Handheld Microphone A: 516-558MHz (***)
4. Sennheiser EM300 G3 Wireless UHF Diversity Receiver (Frequency A ) (***)
5. Rode NTG-3 (***)
6. Zoom H4N Field Recorder [Post Audio Sync required]
7. External Mirrored Lacie 2.5inch hard drive [x2 for A B scenario, recommended for workflow]
8. Gefen 1:5 Splitter for HDMI 1.3 [most likely already have this]
9. To be decided (Wireless video transmitter
Workflow
1. Checklist of equipment required.
2. Preflight Equipment Checks.
3. Arrive at venue 15 minutes prior to alloted time.
4. Equipment Setup and checks.
1. Check noise and video quality settings. [preferable video FPS needed; either 24 FPS or 25 FPS] [also available 60 FPS for slow motion promo]
1. Check audio levels and noise levels.
2. Talk to technician to double check HDMI 1080i output from camera.
3. Start at alloted time.
4. Start recording [12 mins per clip max]
5. Vox Pops [2 per hour min]
6. Total recording time 3 hours max [6 vox pops min - 15 vox pops max]
7. Swap cards when needed [start CF card backup to external bus powered raid]
8. Finish at allocated time
9. Backup video CF card to external bus powered raided drive
10. Backup audio SD card to external bus powered raided drive
11. Check quality of recordings
12. Leave venue at alloted time
13. Post flight checks
14. Begin post production workflow.
⁃ Decide on any additional post production techniques such as noise reduction/stabilazation [must occur before transcode to ProRes]
⁃ Sync Wav audio recordings
⁃ Transcode all files to Apple ProRes
⁃ Burn masters to DVD
⁃ Send/Courier data to Ravi by Monday evening
1. Double check Ravi has received raw masters.
2. Prepare for next week and ensure all parties know of any scheduling changes.
3. Enquire about any changes in imagery and or sound production.
Preflight
1. Format CompactFlash Cards
2. Clean Lens's
3. Clean Body and Sensor
4. Double check all batteries are charged and ready
5. Double check steadicam
6. Pack all equipment
Storage Requirements
H.264, 1080p, 25fps [if max is shot, 98mins = 32 GB's
Converted to ProRes 422 [if max is shot, 98 mins [including 16bit synced sound] = 114.7 GB's.
All things considered and maximum is shot
1. Master WAV's = 13.5 GB's
2. Master H.264's = 32 GB's
3. ProRes 422 Intermediate Codec for Ravi edit including synced 16 bit audio = 114.7 GB's
4. Total storage requirements if maximum is shot = 160.2 GB's required
5. Optimum approach would be to have two [A/B] hard drives of 200 GB's in size, allowing a rotation.
Weekly Submission
Next day turnaround to Ravi.
Receive alternate drive to be readied the weeks shoot
Issues and concerns
1. I won’t be able to record/transmit video continuously whilst in the venue therefore I must have access to a video switch and the ability to playback some inconspicuous content from the previous weeks via computer at 1080i/720P/PAL. Preferably from remote location so that I can switch it myself and I can control whether I’m live or not.
1. Alternate possibilities include having a secondary 7D, 5D MKII or 1D MKIV posted in I high traffic location that I can cross to. Maybe cool to make it a feature by placing it in a sealed box of glass or perspex. Also suggested would be a wide lens or fisheye. Possibly a motorized, for 360 degree rotation or along a track.
2. Sound is major concern in regards to doing vox pops if that’s going to occur and by your brief intro of the gig. I’m going to need purchase some serious professional audio gear to get anything half usable in a club. If it was just for interviews of bands etc, I have quite bit of experience doing that type of production and the quieter the room the better. Sound is most important with the interview format.
3. I now have some major doubts on having a wireless HD video transmission. Most likely the best we can do is wirelessly will be SD however this may be antiquate as most venues rarely invest in full 1080p screens anyway. Also getting a quality signal of SD on the cheap is questionable. This may be a company expense...
Production List (owned)
1. Canon 7D
2. Canon EF 50 mm f/1.8 II
3. Steadicam Merlin
4. Sandisk Extreme CompactFlash Cards [x2] [total recording time at 1920x1080p = 98 mins]
5. MacBook Pro
6. Lexar UDMA CompactFlash Card Reader [40MB/s]
7. Canon LP-E6 Battery Pack [x3]
Production List (to be purchased depending on all situations)
1. Earplugs
2. Noise canceling headphones
3. Sennheiser SKM300-845 G3 Wireless Handheld Microphone A: 516-558MHz (***)
4. Sennheiser EM300 G3 Wireless UHF Diversity Receiver (Frequency A ) (***)
5. Rode NTG-3 (***)
6. Zoom H4N Field Recorder [Post Audio Sync required]
7. External Mirrored Lacie 2.5inch hard drive [x2 for A B scenario, recommended for workflow]
8. Gefen 1:5 Splitter for HDMI 1.3 [most likely already have this]
9. To be decided (Wireless video transmitter
Workflow
1. Checklist of equipment required.
2. Preflight Equipment Checks.
3. Arrive at venue 15 minutes prior to alloted time.
4. Equipment Setup and checks.
1. Check noise and video quality settings. [preferable video FPS needed; either 24 FPS or 25 FPS] [also available 60 FPS for slow motion promo]
1. Check audio levels and noise levels.
2. Talk to technician to double check HDMI 1080i output from camera.
3. Start at alloted time.
4. Start recording [12 mins per clip max]
5. Vox Pops [2 per hour min]
6. Total recording time 3 hours max [6 vox pops min - 15 vox pops max]
7. Swap cards when needed [start CF card backup to external bus powered raid]
8. Finish at allocated time
9. Backup video CF card to external bus powered raided drive
10. Backup audio SD card to external bus powered raided drive
11. Check quality of recordings
12. Leave venue at alloted time
13. Post flight checks
14. Begin post production workflow.
⁃ Decide on any additional post production techniques such as noise reduction/stabilazation [must occur before transcode to ProRes]
⁃ Sync Wav audio recordings
⁃ Transcode all files to Apple ProRes
⁃ Burn masters to DVD
⁃ Send/Courier data to Ravi by Monday evening
1. Double check Ravi has received raw masters.
2. Prepare for next week and ensure all parties know of any scheduling changes.
3. Enquire about any changes in imagery and or sound production.
Preflight
1. Format CompactFlash Cards
2. Clean Lens's
3. Clean Body and Sensor
4. Double check all batteries are charged and ready
5. Double check steadicam
6. Pack all equipment
Storage Requirements
H.264, 1080p, 25fps [if max is shot, 98mins = 32 GB's
Converted to ProRes 422 [if max is shot, 98 mins [including 16bit synced sound] = 114.7 GB's.
All things considered and maximum is shot
1. Master WAV's = 13.5 GB's
2. Master H.264's = 32 GB's
3. ProRes 422 Intermediate Codec for Ravi edit including synced 16 bit audio = 114.7 GB's
4. Total storage requirements if maximum is shot = 160.2 GB's required
5. Optimum approach would be to have two [A/B] hard drives of 200 GB's in size, allowing a rotation.
Weekly Submission
Next day turnaround to Ravi.
Receive alternate drive to be readied the weeks shoot
Wednesday, January 20, 2010
Camera Recommendations
Heya Ravi
Here are my camera recommends. Please be aware that I purchased my camera directly from Hong Kong through Citiwide and some extra gear from the states from B&H.
Also from the states (anywhere I think... but got away with my camera, think its dependent on the thing your shipping) you can get taxed GST for purchases over $1000 on top of your normal international shipping costs so be aware of that.
Generally speaking you will save more by buying internationally including shipping.
What I actually purchased that I would recommend for others.
Note for video work I would recommend a wider lens then the 50mm, so have included that after my first set of recommends.
From Citiwide
Canon 7D: AUD $1670.00; http://www.citiwideonline.com/au/index.php?page=shop.product_details&flypage=shop.flypage&product_id=3318&category_id=107&manufacturer_id=0&option=com_virtuemart&Itemid=1
Canon EF 50mm f/1.8 II: Price: AUD$98.00; http://www.citiwideonline.com/au/index.php?page=shop.product_details&flypage=shop.flypage&product_id=634&category_id=98&manufacturer_id=0&option=com_virtuemart&Itemid=1
SanDisk 16GB 60RW Extreme Compact Flash Card: Price: AUD$125.00; http://www.citiwideonline.com/au/index.php?page=shop.product_details&category_id=60&flypage=flypage_new&product_id=1794&option=com_virtuemart&Itemid=1
From B&H
Bescor LED-35 35 Watt Broad Beam Video Light w/Shoe Mount for Canon: $109.95; http://www.bhphotovideo.com/bnh/controller/home?O=WishList.jsp&A=details&Q=&sku=634864&is=REG
Lexar Professional UDMA FireWire 800 CompactFlash Card Reader: Price: $ 74.99; http://www.bhphotovideo.com/bnh/controller/home?O=WishList.jsp&A=details&Q=&sku=492648&is=REG
Alternative Purchases
For video work in night clubs the lens choice gets a little difficult. First off for general all round video work I would recommend the following two zooms if your on a budget.
Following two lens's are the same focal lengths just alt companies. I personally would go the Tamron, even though cheaper, it's getting great reviews.
Tamron Zoom Super Wide Angle SP AF 17-50mm f/2.8 XR Di II LD Aspherical [IF] Autofocus Lens for Canon EOS Digital Cameras: $ 449.00; http://www.bhphotovideo.com/bnh/controller/home?O=WishList.jsp&A=details&Q=&sku=423714&is=REG
Canon EF-S 17-55mm f/2.8 IS USM Zoom Lens: $ 990.00; http://www.bhphotovideo.com/bnh/controller/home?O=WishList.jsp&A=details&Q=&sku=425812&is=USA
For low light work I would probably go a higher available aperture so when working you have the option to grab more light information with no greater noise.
Canon Wide Angle EF 28mm f/1.8 USM Autofocus Lens; Price: $ 459.95; http://www.bhphotovideo.com/bnh/controller/home?O=WishList.jsp&A=details&Q=&sku=102851&is=GREY
Canon Normal EF 50mm f/1.4 USM Autofocus Lens; $ 359.95; http://www.bhphotovideo.com/bnh/controller/home?O=WishList.jsp&A=details&Q=&sku=12140&is=GREY
All things considered; hopefully this link works, has all my wishlist lens's from B&H.
http://www.bhphotovideo.com/wl/2E1C364637
Here are my camera recommends. Please be aware that I purchased my camera directly from Hong Kong through Citiwide and some extra gear from the states from B&H.
Also from the states (anywhere I think... but got away with my camera, think its dependent on the thing your shipping) you can get taxed GST for purchases over $1000 on top of your normal international shipping costs so be aware of that.
Generally speaking you will save more by buying internationally including shipping.
What I actually purchased that I would recommend for others.
Note for video work I would recommend a wider lens then the 50mm, so have included that after my first set of recommends.
From Citiwide
Canon 7D: AUD $1670.00; http://www.citiwideonline.com/au/index.php?page=shop.product_details&flypage=shop.flypage&product_id=3318&category_id=107&manufacturer_id=0&option=com_virtuemart&Itemid=1
Canon EF 50mm f/1.8 II: Price: AUD$98.00; http://www.citiwideonline.com/au/index.php?page=shop.product_details&flypage=shop.flypage&product_id=634&category_id=98&manufacturer_id=0&option=com_virtuemart&Itemid=1
SanDisk 16GB 60RW Extreme Compact Flash Card: Price: AUD$125.00; http://www.citiwideonline.com/au/index.php?page=shop.product_details&category_id=60&flypage=flypage_new&product_id=1794&option=com_virtuemart&Itemid=1
From B&H
Bescor LED-35 35 Watt Broad Beam Video Light w/Shoe Mount for Canon: $109.95; http://www.bhphotovideo.com/bnh/controller/home?O=WishList.jsp&A=details&Q=&sku=634864&is=REG
Lexar Professional UDMA FireWire 800 CompactFlash Card Reader: Price: $ 74.99; http://www.bhphotovideo.com/bnh/controller/home?O=WishList.jsp&A=details&Q=&sku=492648&is=REG
Alternative Purchases
For video work in night clubs the lens choice gets a little difficult. First off for general all round video work I would recommend the following two zooms if your on a budget.
Following two lens's are the same focal lengths just alt companies. I personally would go the Tamron, even though cheaper, it's getting great reviews.
Tamron Zoom Super Wide Angle SP AF 17-50mm f/2.8 XR Di II LD Aspherical [IF] Autofocus Lens for Canon EOS Digital Cameras: $ 449.00; http://www.bhphotovideo.com/bnh/controller/home?O=WishList.jsp&A=details&Q=&sku=423714&is=REG
Canon EF-S 17-55mm f/2.8 IS USM Zoom Lens: $ 990.00; http://www.bhphotovideo.com/bnh/controller/home?O=WishList.jsp&A=details&Q=&sku=425812&is=USA
For low light work I would probably go a higher available aperture so when working you have the option to grab more light information with no greater noise.
Canon Wide Angle EF 28mm f/1.8 USM Autofocus Lens; Price: $ 459.95; http://www.bhphotovideo.com/bnh/controller/home?O=WishList.jsp&A=details&Q=&sku=102851&is=GREY
Canon Normal EF 50mm f/1.4 USM Autofocus Lens; $ 359.95; http://www.bhphotovideo.com/bnh/controller/home?O=WishList.jsp&A=details&Q=&sku=12140&is=GREY
All things considered; hopefully this link works, has all my wishlist lens's from B&H.
http://www.bhphotovideo.com/wl/2E1C364637
Monday, January 18, 2010
Night Test Shoot Saturday 16th January
Night Test Shoot Saturday 16th January
Equipment
Canon 7D
Canon EF 50mm f1.8 II
Sandisk 16GB Extreme Compact Flash Card x2
Lexar Compact Flash Reader
LED Light Panel
Times
Arrival: 10:30 PM
Shooting: 11:00 PM - 2:30 AM
Departure: 3:00AM
Summary
Much like the first two evenings, collected further dancing, crowd shots and out of focus club imagery.
Have decided on the Captain Stubling rig for club and gorilla film making activites such as this.
Another great resource for DSLR film making is
http://philipbloom.co.uk/
Attempting to learn as much as possible from these two blogs from technique to work flow as this is a huge part of job. I need to provide reliable and best practice information and work in the confines of tight budget.
Equipment
Canon 7D
Canon EF 50mm f1.8 II
Sandisk 16GB Extreme Compact Flash Card x2
Lexar Compact Flash Reader
LED Light Panel
Times
Arrival: 10:30 PM
Shooting: 11:00 PM - 2:30 AM
Departure: 3:00AM
Summary
Much like the first two evenings, collected further dancing, crowd shots and out of focus club imagery.
Have decided on the Captain Stubling rig for club and gorilla film making activites such as this.
Another great resource for DSLR film making is
http://philipbloom.co.uk/
Attempting to learn as much as possible from these two blogs from technique to work flow as this is a huge part of job. I need to provide reliable and best practice information and work in the confines of tight budget.
Skills
Skills as a result of Industry Placement
Students undertaking work experience will have
Skills required for Industry placement
Preproduction Skills
Production Skills
Post Production Skills
Students undertaking work experience will have
- Enhanced their ability to work within in a professional environment
- Demonstrated the use of their own initiative in establishing contacts within industry
- Reflected on the experience of working in a professional environment of their choice
Skills required for Industry placement
Preproduction Skills
- Preflight Checklist
- Customized Technical Production White Paper for Entertainment Embassy
- Conformation of schedule and production requirements
- Checklist of required imagery collection
Production Skills
- Handheld video with Canon 7D
- Focus Pulling
- Data wrangling [transferring shots to ravi's computer after shoot]
- Establishing an awareness with patrons for my role in the night as capturing moments for promotional videos
Post Production Skills
- Showcase of Skills for possible further work with the company
- Tracking particular shots to create certain looks for promos
- Editing Techniques
- Green Screen Keying
- Colour grading
Sunday, January 17, 2010
Night Shoot Test Thursday 14th January
Night Shoot Test Thursday 14th January
Equipment
Canon 7D
Canon EF 50mm f1.8 II
Sandisk 16GB Extreme Compact Flash Card x2
Lexar Compact Flash Reader
LED Light Panel
Times
Arrival: 9:30 PM
Shooting: 10:00 PM - 12:30 AM
Departure: 2:00AM
Summary
Much like the first evening in regards to process. Proceeded around the club and got as many dancing around as possibly. Got some nice shots of the DJ up on the second floor.
I'm learning exactly what Ravi wants in regards to shooting style. Even though it's handheld he wants the shots to be as steady as possibly. I'm currently looking into stabilization rigs for DSLR's such as the Canon 7D and 5D mkII.
I already own the Steadicam Merlin which I purchased for the tropfest film I worked on, this piece of equipment is not appropriate for club environments.
http://www.steadicam.com/handheldmerlin.html
High on the list is the Red Rock Micro Captain Stubling rig; in which has been developed in conjunction with Stu Maschwitz.
http://redrockmicro.com/dslr/index.html#stubling
Also here is his blog which demo's some great gear and guides in regards to DSLR film making.
http://prolost.com/
Equipment
Canon 7D
Canon EF 50mm f1.8 II
Sandisk 16GB Extreme Compact Flash Card x2
Lexar Compact Flash Reader
LED Light Panel
Times
Arrival: 9:30 PM
Shooting: 10:00 PM - 12:30 AM
Departure: 2:00AM
Summary
Much like the first evening in regards to process. Proceeded around the club and got as many dancing around as possibly. Got some nice shots of the DJ up on the second floor.
I'm learning exactly what Ravi wants in regards to shooting style. Even though it's handheld he wants the shots to be as steady as possibly. I'm currently looking into stabilization rigs for DSLR's such as the Canon 7D and 5D mkII.
I already own the Steadicam Merlin which I purchased for the tropfest film I worked on, this piece of equipment is not appropriate for club environments.
http://www.steadicam.com/handheldmerlin.html
High on the list is the Red Rock Micro Captain Stubling rig; in which has been developed in conjunction with Stu Maschwitz.
http://redrockmicro.com/dslr/index.html#stubling
Also here is his blog which demo's some great gear and guides in regards to DSLR film making.
http://prolost.com/
Wednesday, January 13, 2010
Night Shoot Test 9th January
Night Shoot Test | Saturday 9th January
Equipment
Canon 7D
Canon EF 50mm f1.8 II
Sandisk 16GB Extreme Compact Flash Card x2
Lexar Compact Flash Reader
LED Light Panel
Times
Arrival: 10:00 PM
Shooting: 11:00 PM - 2:30 AM
Departure: 3:00AM
Summary
Shooting video of people dancing around is definitely something new and out of my comfort zone. I spose to describe the activity would be a middle ground between being a patron and being an employee. It could be considered close to the DJ as well. My duty is to interact with the patrons in a way that's fun but to produce a product in the long run.
Technically during the shoot I was shooting at an F-Stop of 1.8-2.2 as it is very dark in the night club. This meant the depth of field was very shallow meaning a lot focus pulling. I will have to purchase a new lens as the 50 mm prime I currently own with the multiplication of 1.6 from the crop factor is too night for working in a club environment.
From start to finish, things went well, shot as many things as possible then also copied all the files directly to Ravi's computer that evening.
Equipment
Canon 7D
Canon EF 50mm f1.8 II
Sandisk 16GB Extreme Compact Flash Card x2
Lexar Compact Flash Reader
LED Light Panel
Times
Arrival: 10:00 PM
Shooting: 11:00 PM - 2:30 AM
Departure: 3:00AM
Summary
Shooting video of people dancing around is definitely something new and out of my comfort zone. I spose to describe the activity would be a middle ground between being a patron and being an employee. It could be considered close to the DJ as well. My duty is to interact with the patrons in a way that's fun but to produce a product in the long run.
Technically during the shoot I was shooting at an F-Stop of 1.8-2.2 as it is very dark in the night club. This meant the depth of field was very shallow meaning a lot focus pulling. I will have to purchase a new lens as the 50 mm prime I currently own with the multiplication of 1.6 from the crop factor is too night for working in a club environment.
From start to finish, things went well, shot as many things as possible then also copied all the files directly to Ravi's computer that evening.
Sunday, January 10, 2010
Finalised Schedule for Shooting
Night Shoots | Schedule
- Saturday | 9th January | Test Shoot 001
- Thursday | 14th January | Test Shoot 002
- Saturday | 16th January | Test Shoot 003
- Thursday | 4th Feb | Grant Smillie
- Saturday | 6th Feb | Sam La More
- Thursday | 11th Feb | Minx
Friday, January 8, 2010
Night Shoot Tests
Dates available for night shoots.
- Saturday | 9 January
- Thursday | 14 January
- Saturday | 16 January
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