Richard Van den boogaard
Forum Replies Created
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Depends on which version of the Z-Finder you have. I have V2’s and they connect on the back with a glue-on frame, so there is no baseplate. The new V3s do have such a Gorilla Baseplate. This is supposedly handier when you have a Zacuto rig, since you can directly attach the 15mm rods to it, but that leaves the tripod/monopod mounts…
I have Manfrotto 394 quick release plates all over the place, so I can quickly switch from one to another. Speed is what counts when you’re shooting and this works for me.
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
I would like to take this discussion into a somewhat different direction – with the 7D you have the option of choosing 60fps when the camera is set to NTSC with the accompanying shutter speeds of 1/100 and 1/125. That could result in a nicer slowdown when edited at 25fps than 50fps.
At one project this summer that was shot entirely in slomo, we were considering use of 60fps, but chose to switch to 50fps in the end. I’m guessing now, that was a wise decision…
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
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What you could do, perhaps is do a test shot on the set and load it up in your NLE on a laptop and then make the matching frame 50% transparent as you overlay on top of the test shot.
I don’t know of any live tools that will allow you to superimpose that, but perhaps someone else here does…
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
I totally agree with you. When I first purchased the Glidecam HD-4000 that thing was going nowhere, until I took a day’s worth of training from an experienced operator who taught me how to set it up. Glidecam referred me to him.
As I foresee more jobs which will require floating shots, I have now decided to invest in the X-10 vest (double spring arm as opposed to the Smooth Shooter’s one spring arm).
So, all-n-all, I am a relative newbie in the field, but practice makes perfect. On an average shoot, I tend to do several takes and then choose the best in the edit.
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
I guess that was more luck than anything I had planned for, although I do remember checking for reflections as I was closer to the glass. As an afterthought, I think you can’t see me because the light inside the cabinets was practically the only light available: I was shooting on the dark side.
As you may have noticed, those shots were all done at 50fps and then slowed down to 25 (PAL). This certainly adds to the floating experience.
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
Sorry if I have misinterpreted your original question. I thought you were new to the field and needed some guidance in proper use of the Steadicam – i.e. choosing that over handheld rigs or tripod/monopod shots and your question about use of a viewfinder on it…
Although stabilisation systems can be great for some uses, definitely not all. In my projects, I tend to use a few shots, not a lot. If find that they intercut just fine with talking heads.
Example here: https://vimeo.com/13706590
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
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Like Noah said, get a VariND from SinghRay or the much cheaper FaderND from LightCraft. This allows you to shoot wide open and still vary the incoming light from 2 to 8 stops.
However, if you’re shooting in low light situations, you may have to resort to dragging the shutter to a lowest possible limit of 1/30th.
Be careful though, as it may introduce motion blurs (the opposite of the staccato movements when you up the shutter speed). When you’re shooting talking heads, this won’t be an issue; when there’s lots of motion, you may notice the blur.
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
I use a Glidecam instead of a Steadicam Merlin; much cheaper, but I guess there is difference in quality/stability as well. Especially if you decide to load it up with extra gear.
With regards to a viewfinder – there is no point in that on a Steadicam/Glidecam: You cannot (or: should not) have physical body contact with the camera when you use a Steadicam/Glidecam; the whole idea is that the camera remains stable (floats) as you move it. Instead of a viewfinder, you will need to attach a monitor on the rig, unless you can watch the LCD screen.
Not allowing yourself to touch the camera, mostly means that you’ll have to shoot it at higher F-Stops and have deep focus. There is another solution, but that involves placing a motor on the focus ring, along with a wireless video monitor and then have an assistent do the focus pulling for you as you move the rig.
So there is a real point in having a shoulder rig (or tripod/monopod) next to a Glidecam/Steadicam. Due to their huge sensors, DSLRs excel in shallow DoF, so if you really want to only use it for Steadicam shots, you might as well settle for a video camera with a much smaller sensor (and, thus, deeper focus).
Aside from shooting with deeper focus, you will also want to use wider angle lenses on a Glidecam/Steadicam, in order to hide some of the rolling shutter issues that DSLRs tend to have.
Check out the updated My Gear Section on Vincent Laforet’s blog.
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
Instead of working with a field monitor, you may consider having a Zacuto Z-Finder attached to the back, unless of course you have multiple people that need to see the image you’re recording.
I use Manfrotto 394 quick-release plates to attach my cameras to my tripods and monopods. You might consider the purchase of a cage (powered or non-powered if you have lots of things to connect.
As for the Zoom H4N – I carry it in my pocket with the receiver for the mic attached. You do have to check regularly if audio is recording properly.
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
Another suggestion is to use After Effects for editing the RAW files into a timelapse edit. No need for scaling or transcoding – you can import your RAW files as a sequence in AE leaving tons of latitude to play with in terms of Color Correction, adding VFX or doing digital zooms/pans.
Example here (opening sequence): https://vimeo.com/13712192. That is about 20-30 mins worth of pictures.
@Michael: thanks for the tip on Av and 2/3 interval stops during sunrise/sunset.
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
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