tag:blogger.com,1999:blog-23407449937674738452024-03-05T19:52:02.688-06:00LuckyStudio 13 - HD Cine Production Studio.Life of an independent filmmaker.John Weehttp://www.blogger.com/profile/10956205209097316462noreply@blogger.comBlogger21125tag:blogger.com,1999:blog-2340744993767473845.post-78263005267267527382008-10-19T10:06:00.003-05:002008-10-19T10:09:25.118-05:00$100 16GB SXS equivalent media card for your Sony EX1/EX3<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.glasseye.com.au/articles/sdassxs/D3B_7048.JPG"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 320px;" src="http://www.glasseye.com.au/articles/sdassxs/D3B_7048.JPG" alt="" border="0" /></a><br />If you are a Sony EX1 or EX3 shooter, you might really want to read this. This solution has been fully tested and confirmed to be working 100% on the cameras.<br /><br /><a href="http://www.glasseye.com.au/articles/sdassxs/" target="_blank">http://www.glasseye.com.au/articles/sdassxs/</a><br /><br />Now you can have a FULLY WORKING $100 16GB Express Card for your EX1/EX3 camera. This compared to Sony SXS card for $ 1200 each.John Weehttp://www.blogger.com/profile/10956205209097316462noreply@blogger.com0tag:blogger.com,1999:blog-2340744993767473845.post-30811404201753612952008-09-22T23:38:00.001-05:002008-09-22T23:40:08.844-05:00Simply Stunning.<a href="http://www.usa.canon.com/dlc/controller?act=GetArticleAct&articleID=2086">W. O. W </a><br /><br />$2700 21megapixel 35mm sensor size interchangeable lens. Please Canon, use the Canon 5D MKII technology on your camcorder line.John Weehttp://www.blogger.com/profile/10956205209097316462noreply@blogger.com0tag:blogger.com,1999:blog-2340744993767473845.post-12077527315666630412008-09-10T09:58:00.004-05:002008-09-10T10:14:08.235-05:00A Wednesday Morning Rant; DSLR + VIDEO and Canon.<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.vardemedia.no/images/H1_pakke.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 320px;" src="http://www.vardemedia.no/images/H1_pakke.jpg" alt="" border="0" /></a><br />It seems that everybody is into the SLR + Video hybrid nowadays since the introduction of the Nikon D90. Shooting a film is an uphill battle to begin with, and again IMHO, I just cant see why one would make the effort even more challenging by choosing to use a DSLR camera.<br /><br />Now, just days after Nikkon D90 announcement, Jim Jannard from RED is announcing that they are going into the DSLR + Video market. I am not saying that one cannot use the D90 to make a full feature film, but it is surely the D90 is not the most optimum tool for that purpose. Yes it can be done ! I even have seen a music video that was done with a small Canon point and shoot camera.<br /><br />Speaking about the industry and Canon, IMHO the biggest underachiever is Canon. Canon has all the resources in the world to dive into the indie semi-pro industry. Take for instance;<br /><br />a) Canon has beenproducing one of the world's best lenses (both still and motion).<br />b) Canon is already in the digital video camcorder industry (HV30, A1, G1, H1 ...etc.).<br />c) Canon does not have any high end camera market to cannibalized.<br />d) Canon has full frame sensor on a $2000 5D camera.<br /><br />So if you think about it, all the resources are already in place for Canon to produce a truly Indie camera ala the RED ONE. Imagine a shoulder mountable H1 sized camera that uses CMOS 35mm sensor that mates with their still camera lens. They know it is possible, they had in the past and still offers their EF adapter for the XL-H1 so you can use Canon SLR lens with the camera. All that is left, is to rehouse some of ther SLR prime lenses to cine style; declick the aperture stops, give it a longer throw and put gear rings on it and charge 2 1/2 times more than the current price.<br /><br />If such Canon camera exists, it will easily sell a TON at ~$15k (Body) and ~$10k (set of primes). Yet, look at Canon; their camera still uses HDV codec, no tapeless option and nothing notable/perfomance during this past NAB. They can go absolutely insane, as currently they dont have any high end camera market to protect.<br /><br />Too bad, the Japanese while having all the resources at their disposal but they are very conservative and not innovative at all. I can understand Sony and Panasonic being super conservative because they have to protect their higher end offering, but Canon has nothing to lose, and yet still, Nikon took the leadership by offering movie mode on the D90 ahead of Canon.<br /><br />WAKE UP CANON & CONQUER THE INDIE MARKET !John Weehttp://www.blogger.com/profile/10956205209097316462noreply@blogger.com1tag:blogger.com,1999:blog-2340744993767473845.post-29172962077283930292008-08-31T10:26:00.022-05:002008-08-31T12:23:58.967-05:00Redrock Micro Mattebox Rail Solution<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit8p_gFi6JOTTGqCuVb0LYvmfWiJuqFqePq0Sw5pKol4sseDp_08Z9KQLxuJSKiFHIyGUNUttAxMoe9Tmd_-9AQ4Xe0WPZyZeTkVGWB4MWzGYU5xLr8OwcYAHh0h4uk8l_HCEpfbyoKn8/s1600-h/mattebox_problem_solved.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit8p_gFi6JOTTGqCuVb0LYvmfWiJuqFqePq0Sw5pKol4sseDp_08Z9KQLxuJSKiFHIyGUNUttAxMoe9Tmd_-9AQ4Xe0WPZyZeTkVGWB4MWzGYU5xLr8OwcYAHh0h4uk8l_HCEpfbyoKn8/s320/mattebox_problem_solved.jpg" alt="" id="BLOGGER_PHOTO_ID_5240704753418597442" border="0" /></a><br />My new 'modded' Redrock Micro Mattebox 15mm setup that allows you to slide the mattebox on the entire length of the rods.<br /><br /><span style="font-weight: bold;font-size:100%;" >The Problem</span><span style="font-size:100%;">.</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://lh6.ggpht.com/LuckyStudio13/SLrFLOsXZ_I/AAAAAAAAARU/DfUKl-XHXWQ/mattebox_problem.jpg"><img style="cursor: pointer; width: 320px;" src="http://lh6.ggpht.com/LuckyStudio13/SLrFLOsXZ_I/AAAAAAAAARU/DfUKl-XHXWQ/mattebox_problem.jpg" alt="" border="0" /></a> The new Redrock Micro Mattebox is a god sent solution to us poor indie filmmakers. However, you might be disappointed in how the 15mm rail version of the mattebox was designed. The mattebox was designed a bit too low, as the result, you are forced to mount the mattebox at the exact end of your rails. (NOTE: The 19mm version of the mattebox does not have this problem).<br /><br />For 35mm adapter user (especially if you mix zooms and primes), this also means that you got to have exact length rails for each of your different length lenses. As you can imagine, it is a pain to do that in the field and also could be expensive and troublesome (cutting different rails to match different lenses). Also, if you want to use the mattebox with your camera's original lens, you might have problem to get the mattebox to be close enough to the camera lens without using an extremely short rails.<br /><br /><span style="font-weight: bold;">The Solution</span>.<br />Until Redrock decides to fix this problem, here is a simple solid solution that you can execute now.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR5JAJMqVbP5VECFkXQf-114H0gWIts19iz7dYIV9xE1VXsIcH0Ww5F8RkxC39ZbqlcqjuWTUz8qVX4CSOLD0J4ropj8HyuwIJeX77dBfveKKbseN_BCWlQDAyQvfnuWF4VRfHgLhkmh0/s1600-h/mounting1.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR5JAJMqVbP5VECFkXQf-114H0gWIts19iz7dYIV9xE1VXsIcH0Ww5F8RkxC39ZbqlcqjuWTUz8qVX4CSOLD0J4ropj8HyuwIJeX77dBfveKKbseN_BCWlQDAyQvfnuWF4VRfHgLhkmh0/s320/mounting1.jpg" alt="" id="BLOGGER_PHOTO_ID_5240704931178979010" border="0" /></a><span style="font-size:85%;">Step 1: Mount the mattebox on the topmost bracket on the swing away arm. This should lift the mattebox 1 3/4" above the rails. Align the mattebox so it is perfectly horizontal and tighten the knob. Next we got to give the mattebox some structural support.</span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgupbkmy2hrFh07DNGCtoHMX70YouUbU7nw5Pp5Q_NovjmLfinQAyHz9L-KN8_KQSQoPNti__Q7D0QCgpOpj5NbxXPlzpKLlxlErINYaKhSx-EDCTTosTjWjePTeyI_peR-BYyPUFTL5F8/s1600-h/multimount_solution.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgupbkmy2hrFh07DNGCtoHMX70YouUbU7nw5Pp5Q_NovjmLfinQAyHz9L-KN8_KQSQoPNti__Q7D0QCgpOpj5NbxXPlzpKLlxlErINYaKhSx-EDCTTosTjWjePTeyI_peR-BYyPUFTL5F8/s320/multimount_solution.jpg" alt="" id="BLOGGER_PHOTO_ID_5240705019921031218" border="0" /></a><span style="font-size:85%;">Step 2: You need one short 15mm rail. I use a 4 1/2" rail in the picture above. Next, you need 2 Redrock MultiMount (Is there anything those little suckers cant do?) into the rod. </span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilzGKI165yL-qIb2sPSGcJdwnomKs-XdTDZgNlevL1FXE4MDlINtgUqKdnv6bnBMSuuVljzpyu7FJRSo1jUVCSjFnY1WZlt6Kj_7V7vf3c25WUot1HS6jSbP8WXPg14vtqhv-da6ItfNU/s1600-h/Mounting_solution.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilzGKI165yL-qIb2sPSGcJdwnomKs-XdTDZgNlevL1FXE4MDlINtgUqKdnv6bnBMSuuVljzpyu7FJRSo1jUVCSjFnY1WZlt6Kj_7V7vf3c25WUot1HS6jSbP8WXPg14vtqhv-da6ItfNU/s320/Mounting_solution.jpg" alt="" id="BLOGGER_PHOTO_ID_5240703930059398210" border="0" /></a><span style="font-size:85%;"> Step 3: Loosen the thumbscrew on the multimounts and then slide in into the swing away rods and then tighten all knobs. This is so, to give back structural strength and integrity to the mattebox.</span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7dGOBjoA_oH3S7igrBWTrs22VM7_ba8QPVN4dtCTnCI4RO0BuvMLUAui-yvvQcpyBQ7oInrPswAG2SIwTJU6d9410dat_BhqNfsNtifiMpRK-yH8cMDR2-9DEMzZsY97LxgkZlzE2huE/s1600-h/mattebox_problem_solved2.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7dGOBjoA_oH3S7igrBWTrs22VM7_ba8QPVN4dtCTnCI4RO0BuvMLUAui-yvvQcpyBQ7oInrPswAG2SIwTJU6d9410dat_BhqNfsNtifiMpRK-yH8cMDR2-9DEMzZsY97LxgkZlzE2huE/s320/mattebox_problem_solved2.jpg" alt="" id="BLOGGER_PHOTO_ID_5240704833969333042" border="0" /></a><span style="font-size:100%;">With my 'mod', you still have about 3/4" of room before the longest part of the 360 degree rotatable filter tray touches your rails.</span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEfSqN-gWsiy1spLMIma1RwclFEkALJ-LaxjjjcMT1FOM59r2dO7EkI4HhFFnjNXZbPWjiPE4ZhxTVQI6lv3c4Ta-yFEiRFcIXdkPx_w0utwHOdzqszTa0J0WstAg_mG4cNbia7sIRYR0/s1600-h/final+solution.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEfSqN-gWsiy1spLMIma1RwclFEkALJ-LaxjjjcMT1FOM59r2dO7EkI4HhFFnjNXZbPWjiPE4ZhxTVQI6lv3c4Ta-yFEiRFcIXdkPx_w0utwHOdzqszTa0J0WstAg_mG4cNbia7sIRYR0/s320/final+solution.jpg" alt="" id="BLOGGER_PHOTO_ID_5240704230356845362" border="0" /></a> <span style="font-size:100%;">The entire assembly from the right side. The entire thing is as rock solid as the original. It does not have any flex whatsoever at all. </span><span style="font-size:100%;">No more custom rails or rail swapping to compensate for different lenses.Hey</span><span style="font-size:100%;"> Redrock, what about having black as a color option on the multi mount ??<br /><br /></span><span style="font-size:100%;">Now you can use your Redrock Shoulder Mount with your Redrock Mattebox on the same setup. Now thats a sea of baby blue on the rig.</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS5m6bst5xCaxGyGXvc6g2tOSxsa7KI9kCQ6sTq44ABiKwNAQKm461A-qjEAMc-Pe3nAgiO-KMZWB_07VWlx9f7Ja2tSL-m-j5VZgIXWvHIQJVQsWS-dKIQexs5Np1oW1s6-4rN9Halqk/s1600-h/complete_solution2.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS5m6bst5xCaxGyGXvc6g2tOSxsa7KI9kCQ6sTq44ABiKwNAQKm461A-qjEAMc-Pe3nAgiO-KMZWB_07VWlx9f7Ja2tSL-m-j5VZgIXWvHIQJVQsWS-dKIQexs5Np1oW1s6-4rN9Halqk/s320/complete_solution2.jpg" alt="" id="BLOGGER_PHOTO_ID_5240704064926227170" border="0" /></a><br /><span style="font-size:100%;">Hope This has been helpful to you guys out there. Cheers.</span>John Weehttp://www.blogger.com/profile/10956205209097316462noreply@blogger.com3tag:blogger.com,1999:blog-2340744993767473845.post-5311462531910864872008-08-29T10:55:00.019-05:002008-08-31T15:40:31.732-05:00The RedRock Micro MatteBox<span style="font-weight: bold;">Christmas in August.</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmbKusQ6a87QWdMYqLHl-_6-BymH05fACOyp4WZ-tieYRulK343DYMjf9of1Yps8i5xEb-Nfjdz8nnY3X_wzJOeFopQJr8phqE_lkrRU8DKy-NjB_cpSd3SulJQ6Zji397-NCLgntlVGk/s1600-h/RMB_Box.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmbKusQ6a87QWdMYqLHl-_6-BymH05fACOyp4WZ-tieYRulK343DYMjf9of1Yps8i5xEb-Nfjdz8nnY3X_wzJOeFopQJr8phqE_lkrRU8DKy-NjB_cpSd3SulJQ6Zji397-NCLgntlVGk/s320/RMB_Box.jpg" alt="" id="BLOGGER_PHOTO_ID_5239972317186561346" border="0" /></a><br />The RedRock Mattebox, probably the most sought after film production accessories today. They are so much hype surrounding this product and the waiting list can span across several month. Out of the 8 lb shipping weight, out come 1x mattebox, 1x arm (15mm or 19mm available), swing away with 2 horizontal adjustment arms, 2 side wings, 1 top wing and 4x neoprene donuts in the following sizes (2" + 2.5" + 3" + 4").<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxWiotdBSz_XRB0dcMwayjJ2hwoLzVBqAy2M79AAPdeCp495SVu7BMNOCQT-aLOPF_jRgpjn_92iQf3EQdEvY8DC5PhCvfAIfQRfEVb65uAVBXi1dQi4MIz6AEhzuyyOaG0k920VKu3uI/s1600-h/RMB_Components.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxWiotdBSz_XRB0dcMwayjJ2hwoLzVBqAy2M79AAPdeCp495SVu7BMNOCQT-aLOPF_jRgpjn_92iQf3EQdEvY8DC5PhCvfAIfQRfEVb65uAVBXi1dQi4MIz6AEhzuyyOaG0k920VKu3uI/s320/RMB_Components.jpg" alt="" id="BLOGGER_PHOTO_ID_5239969794566309778" border="0" /></a>The Redrock Mattebox is extremely well designed mattebox and it rivals other much more expensive system. Everything was well engineered and very well made and built, everything is solid and you cannot find any loose or rattling part in the system.<br /><br />Almost everything is build out of metal. The eyebrow, side wings and mattebox adapter (the front body) are made of high impact ABS plastic ( dont worry as they are extremely hard material). There are also horizontal and vertical adjustments along with full 360 degree rotatable filter stage. The system comes with 2 filter stages and you can buy and add more stages from Redrock as needed. There is also the option of purchasing the 19mm swing away arm should you are moving towards studio accessories in the future. The finish on everything down to the 4x4 matte are all superbly done.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwTHds0mgVxsNg09Y-FwiWxq0f0sidgS_7t1Hj_QkccmjqOie8cLAAxYGu6NnYFROWdXHhm8v2HoNqN8lTs3jxpDVFvlNNYf7muBbSkaF3awyG7FrkviljBdcOwfWIO54DuLlFnaRO3NU/s1600-h/RMB_1.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwTHds0mgVxsNg09Y-FwiWxq0f0sidgS_7t1Hj_QkccmjqOie8cLAAxYGu6NnYFROWdXHhm8v2HoNqN8lTs3jxpDVFvlNNYf7muBbSkaF3awyG7FrkviljBdcOwfWIO54DuLlFnaRO3NU/s320/RMB_1.jpg" alt="" id="BLOGGER_PHOTO_ID_5239972547674331042" border="0" /></a><br /><span style="font-size:85%;">The whole package is housed on a very nice fitted foam case. You can save some money and just buy a blank Pelican Case or any hard case without their foam and reuse the Redrock packaging. </span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZFC9eyQ83asK6mi5PozuCjMYNxbcaIn-MCWnID1vPLWx7Te_8DzAFzzcG_xQBCsAM22HigKe1ZK3ZuPXHz028c_sGtQJfGP4tDUqQUTWNLryLJhNArFvCqkTlMEPcgH4SVFqfY4MLlcw/s1600-h/RRMB_Swing_Away.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZFC9eyQ83asK6mi5PozuCjMYNxbcaIn-MCWnID1vPLWx7Te_8DzAFzzcG_xQBCsAM22HigKe1ZK3ZuPXHz028c_sGtQJfGP4tDUqQUTWNLryLJhNArFvCqkTlMEPcgH4SVFqfY4MLlcw/s320/RRMB_Swing_Away.jpg" alt="" id="BLOGGER_PHOTO_ID_5240001697371249154" border="0" /></a><br />The swing away component of the mattebox is brilliantly designed. The whole block that attaches the mattebox body to the swing away piece is very solid and robust. Apart from the filter stages, this is the only major moving part of the entire mattebox design. There are no rattling, gaps or anything that doesnt inspire confidence in the design. Instead of just pushing the entire mattebox back into its position, I would rather lift the knob and then push the pin into its sitting position. Not that you will wear down the sitting metal pin, but I like to minimize any metal to metal grinding.<br /><br /><span style="font-weight: bold;">Neoprene Rubber Donut Bellow.<br /></span>eInstead of having a hard mount bellow, Redrock uses 0.5mm thick rubber neoprene donuts to wrap around your camera's lens to act as a bellow. It is a less than elegant solution but it works pretty well. My nikon 50mm f1.4 fits snug on the 2" donut and my Nikon f2.8mm zooms lenses fit the 2.5" and 3" donuts. <div><br /></div><div>Direct sunlight is an enemy for neoprene as UV rays will cause neoprene to cracking and stiffening. However, I will be covering the filter stage as well as the donut/lens area with duvetyne to block out stray light anyways, so hopefully that will minimize the sun damage in the outdoors. So only time will tell how well the donuts do on those long summer outdoor shoots. Neoprene also stretches over time. Make sure that you do not introduce crease into the donuts during storage, as it is almost impossible to make them dissapear again. Heat also deteriorates the neoprene and will shorten its life, so ideally you want to store those neoprene donuts on a dark cool place.<div><br /><span style="font-weight: bold;">ONE ISSUE.</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVcET6pkuRE0wyCXfy_p7zbjvuvplzLGYQ-ZGE_JEpDldJVNLe2_GaW3KMdBI2qYvIb8q8SHnzBuQQcJw_0ZInXQ_GDxgwAxZaw9c9OWv2YFtxB58Xuv_G1U-ykKBfWiFEKiYGWTa2gsU/s1600-h/filter_Tray_sizes.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVcET6pkuRE0wyCXfy_p7zbjvuvplzLGYQ-ZGE_JEpDldJVNLe2_GaW3KMdBI2qYvIb8q8SHnzBuQQcJw_0ZInXQ_GDxgwAxZaw9c9OWv2YFtxB58Xuv_G1U-ykKBfWiFEKiYGWTa2gsU/s320/filter_Tray_sizes.jpg" alt="" id="BLOGGER_PHOTO_ID_5239975050548484050" border="0" /></a><br />The 2x filter trays that was supplied with the mattebox. The filter tray stock size is 4 x 4.56 and you can use the RedRock 4x4 Matte to use with your 4x4 filter. Depending on the lens that you have on your camera, you might be able to get by with cheaper 4 x 4 filter or you might be forced to use 4 x 5.65 filters which are more expensive. Here lies problem or quirk no 1 for the RedRock Micro Mattebox.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFhWuVC_rjke_vu45l2J-L9hsVFmYLDzbKPbjyDhhFyts67H-NCuZdVPJqgOrauRAOpHXAG_yRug3DltlX5Y6ZsiLyqsm8Ivo2IxsErplbFtp3qQl8raQZv0iYQ5JV2VD27ckYbNhWenw/s1600-h/filter_matte.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFhWuVC_rjke_vu45l2J-L9hsVFmYLDzbKPbjyDhhFyts67H-NCuZdVPJqgOrauRAOpHXAG_yRug3DltlX5Y6ZsiLyqsm8Ivo2IxsErplbFtp3qQl8raQZv0iYQ5JV2VD27ckYbNhWenw/s320/filter_matte.jpg" alt="" id="BLOGGER_PHOTO_ID_5239978727231844546" border="0" /></a>The extremely thin 4x4 plastic matte that was supplied with the MatteBox does not fit right into the filter tray. The plastic matte ws shipped slightly big for the filter tray. As a result, the matte will not sit flat inside the tray and this causes the tray to leak and allowed light to enter. As a result of using a very thin material, the matte also do not have a firm structure therefore, movement may cause the matte to leak and allow stray lights to come enter. I would assume that in order to solve the size problem, you can simply take a siccor and carefully trim along the side of the plastic matte to make it sit evenly on the tray.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAav7HBeqR5ViIJznp5yhRG-LC1Bz-z4aPbo1rdEgxFQJyYDFaAepksK154YkVD3R2rD5fS5P_xtY6jZ35Rw1Mu3RlVq6fp__7xpm9joxSaoh70gTko8dBAB73Ci4LvyyQ6AhiS6v9h7A/s1600-h/matte_filter_problem.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAav7HBeqR5ViIJznp5yhRG-LC1Bz-z4aPbo1rdEgxFQJyYDFaAepksK154YkVD3R2rD5fS5P_xtY6jZ35Rw1Mu3RlVq6fp__7xpm9joxSaoh70gTko8dBAB73Ci4LvyyQ6AhiS6v9h7A/s320/matte_filter_problem.jpg" alt="" id="BLOGGER_PHOTO_ID_5239977148332322434" border="0" /></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzI594QApWxO69ToXIFZ89mkWHty5ghd2BmDIRrFzt_cUO8Qk-Hi6IKbaZbMVSzEs_Fro6ISfZiAJYXIe9CcFh5chDwV254fzA-fphuVAak0bMQ51jGmFSR1gFKyMoGeDI5fX_EqZGES0/s1600-h/RRMB_Top_Wing.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzI594QApWxO69ToXIFZ89mkWHty5ghd2BmDIRrFzt_cUO8Qk-Hi6IKbaZbMVSzEs_Fro6ISfZiAJYXIe9CcFh5chDwV254fzA-fphuVAak0bMQ51jGmFSR1gFKyMoGeDI5fX_EqZGES0/s320/RRMB_Top_Wing.jpg" alt="" id="BLOGGER_PHOTO_ID_5239995468058166114" border="0" /></a> <span style="font-size:85%;">Redrock Micro Mattebox French Flag/Top eyebrow.</span><span style="font-weight: bold;"><br />Good Things Come To Those That Waits.<br /></span>At $695.00 for the Deluxe Bundle, the RedRock Micro Mattebox is the deal of the century. The mattebox is simply an unreal and fantasic deal. There is talk that RedRock will be increasing the price of the mattebox in the near future. Even at $ 1200.00 this mattebox is worth every penny.<br />If you are looking for a mattebox, place and order and get inline, you will not be dissapointed. This is the preliminary report on the Redrock Micro Mattebox, more practical application and on the field report to come soon.</div></div>John Weehttp://www.blogger.com/profile/10956205209097316462noreply@blogger.com1tag:blogger.com,1999:blog-2340744993767473845.post-19132015919923697142008-08-27T09:18:00.006-05:002008-08-27T09:41:35.440-05:00Nikon d90; a preview of the capability of RED Scarlet ?<!-- Begin #content --> <!-- Begin #main --> <!-- Begin .post --> <a name="8897953261144463466"></a> <h3 class="post-title"> <a href="http://blog.chasejarvis.com/blog/2008/08/chase-jarvis-raw-advance-testing-nikon.html">Chase Jarvis RAW: Advance Testing the Nikon D90</a> </h3> <!-- <p class="post-footer"> </p> --> 8/26/2008 09:00:00 PM <object height="323" width="500"><param name="movie" value="http://www.youtube.com/v/HVQX1rC-fRA&hl=en&fs=1&ap=%2526fmt%3D18&rel=0&color1=0x3a3a3a&color2=0x999999"><param name="allowFullScreen" value="true"><embed src="http://www.youtube.com/v/HVQX1rC-fRA&hl=en&fs=1&ap=%2526fmt%3D18&rel=0&color1=0x3a3a3a&color2=0x999999" type="application/x-shockwave-flash" allowfullscreen="true" height="323" width="530"></embed></object><br /><br />Woot! Today I get to be among the very first to share with you the planet’s newest camera: the much-anticipated Nikon D90. You may have been attuned to all the recent leaks, buzz and rumors of a new Nikon camera coming soon, but I can assure you, this here ain’t no rumor. It’s the real deal and I know so because my crew and I spent several weeks testing and experimenting with this gem months in advance of today’s release, and our efforts make up the launch campaign. Hold onto your chairs for a second while I drop a few nuggets:<blockquote>- 12.3 megapixels (the same luscious chip that’s in the Nikon D300)<br />- D-movie function (that’s right, MOVIE function. 1280x720, .avi format, HD720p)<br />- High ISO/low-noise performance (Nikon’s ace in the hole. I shot this at 3200 and dug it.)<br />- 4.5 frames per second<br />- 3 inch, 920dot LCD with Live View<br />- Pop up flash with ‘commander’ mode to interface with Nikon's lighting system<br />- GPS tagging</blockquote>And if you’re at all curious to see actual 1000px detail shots of the camera, sample images, technical specs, and hear the backstory behind what a Nikon D3 pro like yours truly was doing with a D90 camera targeted to advanced amateurs, click ‘continue reading’ below.<span class="fullpost"><br />--<br />Ok, so I normally steer clear of too much tech hype, but today I’m right up in there. Why? Because this time it feels different. Different, sure, because I got to play with, hammer on, and test the bejeezus out of the Nikon D90 for weeks-on-end prior to anybody even knowing it existed. (Did I say lucky? Soooo fun.) But this also feels different because, beyond all the specifications, numbers, megapixels and other geeky stuff, my gut is that Nikon have really delivered on this product. After using this camera and pushing it to it’s limits, I can honestly say that it’s a camera that will deliver stunning, emotive pictures--and MOVIES for Pete’s sake! MOVIES!--to an entire spectrum of amateur photographers. And that’s exciting. The world can always use better pictures.<br /><br /><span style="font-weight: bold;">The Short Backstory:</span> Representatives from Nikon Japan buzzed me to talk about a new camera while I was in Dubai. Two zillion dollars in cell phone bills and a bunch of airline miles later, I’m learning the details. And before I know it, we’ve piggy-backed a Nikon project on top of another commercial shoot I’ve got going back in Seattle in the spring to put this hot little camera to the test. And the best part? I’ve talked them into not only putting the camera in my hands, but it the hands of my staff too. Democracy. Nikon loves the idea. Heck everybody on my staff are advanced amateurs in their own right - so what better way to test this sucker than have everybody shooting - me and the crew...cameras all ‘round.<br /><br />Speaking of <span style="font-style: italic;">The Camera</span>, how'd you like a handful of snaps of the camera to whet your palette. For an Aperture gallery of twenty 1000px jpgs of each view (even photos of the digital menus...), just click <a href="http://blog.chasejarvis.com/blogpics/d90/">here</a> or an image below:<br /><br /><a href="http://blog.chasejarvis.com/blogpics/d90/"><img src="http://www.chasejarvis.com/blogpics/d90post/left.jpg" /></a><br /><br /><a href="http://blog.chasejarvis.com/blogpics/d90/"><img src="http://www.chasejarvis.com/blogpics/d90post/back.jpg" /></a><br /><br /><a href="http://blog.chasejarvis.com/blogpics/d90/"><img src="http://www.chasejarvis.com/blogpics/d90post/top.jpg" /></a><br /><br /><span style="font-weight: bold;">The Main Event:</span> We had a blast, gaffer taping up the logos, running in stealth mode with all these black beauties so that they wouldn’t be noticed around other crew, cast, and the general public. Secret agent fun. We worked the cameras hard during my piggy-backed commercial shoot for more than a week. We shot them constantly, me--along with the D3--and the crew just with the fleet of D90’s. And funny how this happens, but go figure...our work with the D90 on location soon bled into shooting over dinner, then drinks, and then into the night, then into the next week, and so on. And the more we beat on 'em, the more the crew liked 'em.<br /><br />Here’s one of my favorite grabs from my time with the D90. The flare is a stylistic thing, but the image really shows a great dynamic range:<br /><br /><a href="http://www.chasejarvisandfriends.com/"><img src="http://www.chasejarvis.com/blogpics/samplespost/20080604_NIK_15_CAM4_DSC2407.jpg" /></a><br />Click the image above or, better yet, visit <a href="http://www.chasejarvisandfriends.com/">www.chasejarvisandfriends.com</a> for more sample images, behind the scenes shots, and access to the main D90 microsite with all the bells and whistles.<br /><br /><span style="font-weight: bold;">The Wrap: </span> In addition to the myriad of reasons I’ve already listed, there’s another reason to celebrate this launch: it’s cool that Nikon are listening to pro photographers, amateurs, and engineers alike, as a part of testing and adopting new products. This D90 project so nicely whips together many of the needs of aspiring photographers, as well as the photo community at large. Nikon is getting it. And Seth Godin will be happy. I hope other photography brands follow Nikon's lead.<br /><br />To close this short chapter for me and hopefully open a new one for those of you who might consider rolling with the D90, I’ll wrap with a quick review. Here's 5 reasons this camera is great:<br /><br />1. <span style="font-weight: bold;">The D-movie. </span> HD720 video in an dSLR is really big news. It’s so cool that we’re seeing the merging of high quality still and video pictures into the same camera. Sure, for us pros, we’ve got the RED camera. But for everybody else? This is the future. People: this is an SLR that shoots killer video! It’s the merging of features that the pros are using and it’s made accessible the the amateur at a price point of $1200+ bucks. Trust me, I played with this feature at length...all of us on location did, for that matter. It's going to be a powerful tool. You can control your own depth of field so beautifully using the manual focus ring, the audio capture is solid, the high ISO capabilities in video?! Way cool... Long lenses, fisheyes, zoom lenses...versatility. I’m a BIG fan of the D-Movie.<br /><br />2. <span style="font-weight: bold;">Photo J possibilities.</span> This camera will be a great second body for pro photojournalists. Commercial guys like me will be loyal to the D3 and its future, but for any PJ shooter, all the bells and whistles we’ve discussed already-- especially video and audio capture--make this a no-brainer as a backup body.<br /><br />3.<span style="font-weight: bold;"> Image Quality.</span> The sensor is really top tier for a camera targeted at advanced amateurs. The high ISO capabilities are going to be a welcome addition to cameras in this price point. Want to take images of your kid in the rain at his baseball game at 7pm? This is your camera. It’s the D300 sensor with some juice.<br /><br />4. <span style="font-weight: bold;">The ergonomics of this camera are great. </span>As someone who holds a camera for a living, I think camera ergonomics are waaay underrated. This camera (light at only 1lb. 6oz) is a treat in your hand. The menus are great and everything is right where you want it.<br /><br />5. Oh ya, did I mention that this thing <span style="font-weight: bold;">shoots video</span>?!<br /><br />And lastly, since I’m a huge <a href="http://blog.chasejarvis.com/blog/2008/08/new-project-songs-for-eating-and.html">music fan</a> and always inundated with emails asking about the great music in our videos, here’s the inside line: the music in this Nikon D90 video is compliments of one of my fav bands going right now: <a href="http://www.myspace.com/theblakes">The Blakes</a>. Do yourself (and them) a favor and <a href="http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewArtist?id=210991443">buy some iTunes music from these guys</a> so you can say you were listening to them before they made it really big. Hurry, your time is running out.</span>John Weehttp://www.blogger.com/profile/10956205209097316462noreply@blogger.com0tag:blogger.com,1999:blog-2340744993767473845.post-54602054910143099682008-08-26T10:38:00.002-05:002008-08-26T10:41:37.787-05:00Caution before you purchase your Wireless Device. Frequency banned in the USA.<div id="post_message_1383772"><b>FCC votes unanimously to prohibit use of wireless microphones, other devices in 700-megahertz band after DTV transition.</b><br /><br /> <b>By John Eggerton -- Broadcasting & Cable, 8/21/2008 4:56:00 PM</b><br /><br />The Federal Communications Commission voted unanimously to prohibit the use of wireless microphones and other devices in the 700-megahertz band after the <a href="http://www.broadcastingcable.com/Community/DTV+Countdown/48696.html" target="_blank"><span style="color:#0000ff;">transition to digital</span></a>.<br /> FCC chairman <a href="http://www.broadcastingcable.com/article/CA6584269.html" target="_blank"><span style="color:#0000ff;">Kevin Martin proposed the ban earlier this month</span></a>.<br /> The FCC also wants to prohibit the manufacture, sale, import or shipment of such devices that operate in the 700-MHz band.<br />The devices have been sharing the spectrum with broadcasters on those channels (52-69), but those channels are being reclaimed for advanced wireless uses by industry and first-responders after the Feb. 17, 2009, transition to DTV.<br />The FCC said the move affects 156 licenses, but only 30 are not also authorized to operate in other bands that will still be available after the transition, including some DTV-spectrum band.<br />Effective on release of the order, there will be a freeze on applications for any "low-power auxiliary station," which is the category that includes the wireless mikes, as well as equipment that synchronizes TV-camera signals.<br /><br />The commission also sought comment on a proposal to authorize current unauthorized users in the 700 mHz band--many wireless mike users are not licensed, in violation of FCC rules--by alowing them to operator on channels below 52-69. It will also look into complaints about the marketing of those microphones.<br /><br />Harold Feld of Media Access Project, which pushed the proposal and marketing investigation, said MAP was pleased the FCC had made a quick and definitive decision. "It shows that they are taking us seriously," he told B&C. "We certainly hope that this will be resolved before the DTV transition on Feb. 17, and hope the FCC adopts our road map on how to move forward, which protects members of the public, allows for opening the spectrum for all productive wireless devices and punishes only those who illegally marketed the devices in the first place."<br /><br />David Donovan of the <a href="http://www.broadcastingcable.com/article/CA6587901.html" target="_blank"><span style="color:#0000ff;">Association for Maximum Service Television</span></a> has pointed out that the move will reduce the spectrum available for wireless mikes used by news reporters and newsrooms and would "appear to make it more difficult to place unlicensed devices on channels 21-51 since the demand for wireless-mike spectrum will increase on those channels."<br /> The FCC is currently <a href="http://www.broadcastingcable.com/article/CA6585754.html" target="_blank"><span style="color:#0000ff;">testing those unlicensed devices</span></a> as it decides how and whether to allow them to share DTV spectrum.<br /><br />Mark Brunner, Shure’s senior director, public and industry relations, for major mike manufacturer, responded.<br /><br />“Shure plans to work closely with the FCC during this rulemaking process," he said in an e-mail to B&C. "In anticipation of changes in the 700 MHz band, Shure ceased manufacture, marketing and sale of all wireless microphone products in this frequency range, the last of which was discontinued in 2007," he said.<br /><br />Source:<br /><a href="http://www.broadcastingcable.com/article/CA6589511.html?display=Breaking+News&referral=SUPP&nid=2228" target="_blank">http://www.broadcastingcable.com/art...=SUPP&nid=2228</a><br /><span style="font-size:100%;"><br /></span> <span style="font-size:100%;"><span style="color:Red;">SO BE AWARE BEFORE YOU BUY THOSE WIRELESS MICS (ESPECIALLY FROM EBAY OR OTHER INDIVIDUALS).<br /><br /><span style="color: rgb(255, 255, 255);"><span style="color: rgb(0, 0, 0);">This might also mean that if you do not reside in the USA, you might be able to get GREAT DEALS on 700 Mhz band wireless devices from the USA.</span>e.</span><br /></span></span></div> <!-- / message --> <!-- sig --> __________________John Weehttp://www.blogger.com/profile/10956205209097316462noreply@blogger.com0tag:blogger.com,1999:blog-2340744993767473845.post-10470090533989974952008-08-24T12:13:00.004-05:002008-08-24T12:30:36.830-05:00Red One Camera a prespective from Wired Magazine<h1 id="articlehed">Analog Meets Its Match in Red Digital Cinema's Ultrahigh-Res Camera</h1>taken from http://www.wired.com/entertainment/hollywood/magazine/16-09/ff_redcamera?currentPage=all<br /><br /> <div class="date_time"> <span id="contributor" class="c cs"> By Michael Behar </span> <a href="http://www.wired.com/services/feedback/letterstoeditor"> <img src="http://www.wired.com/images/icon_email.gif" class="img_middle" alt="Email" /> </a> 08.18.08 </div> <!-- only display photo on first page --> <!-- start article photo --> <div id="embed_wide"> <div id="pic"> <a href="http://www.wired.com/entertainment/hollywood/magazine/16-09/ff_redcamera?currentPage=all#" onclick="launchWindow('/imageviewer/?imagePath=/images/article/magazine/1609/ff_redcamera_f.jpg&imageCaption=The+Red+One%2C+an+ultrahigh-res+digital+camera%2C+is+ready+for+its+close-up.&imageCredit=Christian+Stoll','1092','827')" title=""><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_f.jpg" alt="" /></a> <div id="caption"> The Red One, an ultrahigh-res digital camera, is ready for its close-up. <i> <br /> Photo: Christian Stoll </i> </div> </div><!-- close pic --> </div> <!-- pageType= magazinewide slug= ff_redcamera section= entertainment subsection= hollywood headline= Analog Film Meets Its Match in Red Digital Cinema's Ultrahigh-Res Camera authorName= Michael Behar creditType= photo credit= Christian Stoll caption= The Red One, an ultrahigh-res digital camera, is ready for its close-up. --> <p><strong>A crowd has gathered</strong> in front of the Las Vegas Convention Center, where a security guard is about to unlock the main entrance. It's less than a minute before 9 am, the official opening of the 2008 National Association of Broadcasters Show—typically a sleepy sales and marketing event known more for schmoozing than buzz. But as the glass doors open on this April morning, a hundred people race toward a large crimson tent in the center of the hall.</p> <p>The tent is home to <a href="http://www.red.com/">Red Digital Cinema</a> and its revolutionary motion picture camera, the Red One. Standing nearby is the man who developed it—a handsome guy with a neatly trimmed goatee and a pair of sunglasses perched atop his clean-shaven head. He clutches a can of Diet Coke in his left hand, an unlit Montecristo jutting from between his fingers.</p> <p>Jim Jannard, 59, is the billionaire founder of Red. In 1975 he spent $300 to make a batch of custom motocross handlebar grips, which he sold from the back of a van. He named his company Oakley, after his English setter, and eventually expanded into sci-fi-style sunglasses, bags, and shoes. In November of last year he sold the business to Luxottica, the owner of Ray-Ban, for a reported $2.1 billion.</p> <p>Jannard won't say how much money he has poured into Red, but his target market clearly appreciates the investment. Supplicants swarm the tent, many of them with offerings—fine wine, gourmet coffee, single-malt whiskey—all to thank Jannard for building the Red One. "I guess they just like me," he says with a wry smile.</p> <p>It's more than that: His team of engineers and scientists have created the first digital movie camera that matches the detail and richness of analog film. The Red One records motion in a whopping 4,096 lines of horizontal resolution—"4K" in filmmaker lingo—and 2,304 of vertical. For comparison, hi-def digital movies like <cite>Sin City</cite> and the <cite>Star Wars</cite> prequels top out at 1,920 by 1,080, just like your HDTV. (There's also a slightly higher-resolution option called 2K that reaches 2,048 lines by 1,080.) Film doesn't have pixels, but the industry-standard 35-millimeter stock has a visual resolution roughly equivalent to 4K. And that's what makes the Red so exciting: It delivers all the dazzle of analog, but it's easier to use and cheaper—by orders of magnitude—than a film camera. In other words, Jannard's creation threatens to make 35-mm movie film obsolete.</p> <p>Two years ago, Jannard brought a spec sheet and a mock-up of a camera—not much more than an aluminum box about the size of a loaf of bread—to NAB 2006. Even though it wasn't a working product, more than 500 people plunked down a $1,000 deposit to get their names on a waiting list. For months, industry watchers wondered if the company was for real. Today, there's no question. The Red One is being used on at least 40 features. Steven Soderbergh, the Oscar-winning director, borrowed two prototypes to shoot his Che Guevara biopics, which premiered at the Cannes Film Festival in May, and later purchased three for his film <cite>The Informant</cite>. Peter Jackson, the Lord of the Rings himself, bought four. Director Doug Liman used a Red on <cite>Jumper</cite>. Peter Hyams used one on his upcoming <cite>Beyond a Reasonable Doubt</cite>. Digital cinema that's all but indistinguishable from film is finally coming to a theater near you.</p> <p><strong>The Red headquarters</strong> is in Lake Forest, California, a sprawling Orange County exurb consisting mainly of strip malls and office parks. The 32,000-square-foot facility, which Jannard recently bought for a reported $7.7 million, has a stark white exterior unbroken by windows except at the entrance, where a winged human skull is painted on the glass. Jannard, wearing blue jeans, black slip-on sandals, and a lime-green short-sleeve shirt, greets me in the lobby and ushers me through a set of gray metal doors. On the way into the workspace, there is a sign:</p> <p><em>1) Please knock.<br />2) Take two steps back.<br />3) Kneel.</em></p> <p>Since I'm getting a tour from the wizard himself, I'm apparently excused from genuflecting.</p> <p>Behind the doors, the walls are festooned with camouflage netting—a nod, perhaps, to the postapocalyptic design of the steel-clad Oakley headquarters half a mile away.</p> <div class="wide_img"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera2_f.jpg" alt="" /> <div class="wide_caption"> <div class="wide_caption_txt">Jim Jannard in his Red screening room.<br /><em>Photo: Amy Crilly</em> </div> </div> </div><p>"I had been thinking about this project for a long time," Jannard says. "As a camera fanatic and a product builder, this was something I seemed destined to do." When businesspeople talk destiny, it can sound like bullshit. But at Oakley, Jannard not only ran the company, he personally shot one of its two TV spots and all of its print ads from 1975 to 1995. He owns more than 1,000 cameras, both still and motion picture, several dating back almost a century. "I have a Bolex, Aaton, Arriflex, Eyemo, Filmo, Mitchell, Photosonic, Beaulieu, Keystone—just about every movie camera you can think of."</p> <div id="article_text"><style type="text/css"> .nDiv {width:300px;float:right;margin:0px 0px 12px 12px;} .nTable {color:#fff;font-size:0.87em;} .nTable td {padding:4px;border-right-style:solid;border-right-width:3px;border-right-color:#A3A3A3;} .nTable img {display:block;margin-bottom:12px;border:1px solid #A3A3A3;} .nTable .cell1 {width:20px;background-color:#464748;font-family:courier new;line-height:0.85em;font-weight:bold;text-align:center;} .nTable .cell2 {background-color:#716c66} .nTable .cell3 {background-color:#716c66} .nTable .cell4 {background-color:#d4201f;border-right-style:none;} </style> <div class="nDiv"> <h3>Why The Red Rocks, Part I</h3> <div style="font-size: 0.9em; margin-top: 0.5em; margin-bottom: 1em;">The Red One camera gives moviemakers the best of both worlds. It delivers the ease of use and editing flexibility provided by digital cinema cameras. At the same time, the Red's resolution and color fidelity rival that of 35-millimeter film, and it allows the same kind of control over focus. Bonus: Like HD and 2K digital, it's cheap.</div> <table class="nTable" border="0" cellpadding="0" cellspacing="0"> <tbody><tr valign="top"> <td class="cell1" rowspan="2"> C<br /> A<br /> M<br /> E<br /> R<br /> A </td> <td class="cell2"> Film<br /> (Example: Panavision<br /> Millennium XL-2) </td> <td class="cell3"> 2K and HD Digital<br /> (Example: Sony F23) </td> <td class="cell4"> 4K Digital<br /> (Example: Red One) </td> </tr> <tr align="center" valign="top"> <td class="cell2"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_1.jpg" /> </td> <td class="cell3"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_4.jpg" /> </td> <td class="cell4"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_7.jpg" /> </td> </tr> <tr valign="top"> <td class="cell1" rowspan="2"> R M<br /> E E<br /> C D<br /> O I<br /> R U<br /> D M<br /> I<br /> N<br /> G </td> <td class="cell2"> Film </td> <td class="cell3"> Tape deck or disk </td> <td class="cell4"> CompactFlash and <br /> RAID </td> </tr> <tr align="center" valign="top"> <td class="cell2"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_2.jpg" /> </td> <td class="cell3"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_5.jpg" /> </td> <td class="cell4"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_8.jpg" /> </td> </tr> <tr valign="top"> <td class="cell1" rowspan="2"> I C<br /> M A<br /> A P<br /> G T<br /> E U<br /> R<br /> E </td> <td class="cell2"> Silver halide emulsion <br /> on plastic </td> <td class="cell3"> 3 sensors with <br /> colors split by prism </td> <td class="cell4"> 1 propietary sensor </td> </tr> <tr align="center" valign="top"> <td class="cell2"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_3.jpg" /> </td> <td class="cell3"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_6.jpg" /> </td> <td class="cell4"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_9.jpg" /> </td> </tr> <tr valign="top"> <td class="cell1" rowspan="2"> L R<br /> I E<br /> N S<br /> E O<br /> S L<br /> U<br /> O T<br /> F I<br /> O<br /> N </td> <td class="cell2"> No lines, but <br /> comparable to 4k </td> <td class="cell3"> HD: 1,920(h) x 1,080(v) <br /> 2K: 2.048(h) x 1,080(v) </td> <td class="cell4"> 4,096(h) x 2,304(v) </td> </tr> <tr align="center" valign="top"> <td class="cell2"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_1.jpg" /> </td> <td class="cell3"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_7.jpg" /> </td> <td class="cell4"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_13.jpg" /> </td> </tr> <tr valign="top"> <td class="cell1" rowspan="2"> R N<br /> E E<br /> L G<br /> A A<br /> T T<br /> I I<br /> V V<br /> E E<br /><br /> S<br /> I<br /> Z<br /> E<br /></td> <td class="cell2"> <br /></td> <td class="cell3"> <br /></td> <td class="cell4"> <br /></td> </tr> <tr align="center" valign="top"> <td class="cell2"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_2.jpg" /> </td> <td class="cell3"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_8.jpg" /> </td> <td class="cell4"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_14.jpg" /> </td> </tr> </tbody></table><br /><em>Icons by Jason Lee</em> </div> <p>In 2004, Jannard bought a Sony HDR-FX1—the first hi-def videocam for consumers. When he found he couldn't use the files it produced without translation software from a company called Lumiere, he telephoned Lumiere's owner, filmmaker Frederic Haubrich. "I told Frederic that I couldn't even view my footage on a Mac and that this had pissed me off enough that I wanted to build my own camera. And he said, 'Jim, I know guys in the industry who can help.'" Haubrich introduced Jannard to interface designer Ted Schilowitz.</p> <p>Schilowitz, Haubrich, and Jannard spent a year trying to design that dream camera, one that would combine the practical advantages of digital moviemaking with the image quality of analog film. They recruited mathematicians, programmers, digital imaging experts, hardware engineers, and physicists. "We needed a bunch of guys who were inventors to come up with entirely new ways of getting to the finish line," Jannard says. He kept the project quiet until his team could determine whether building the device was even feasible, but rumors swirled through Hollywood about some kind of mysterious supercamera in the works. "I didn't know who Jim was," Soderbergh says. "But I heard about Red because they were canvassing filmmakers and cinematographers, asking, 'If you could wave a magic wand, what camera would you design?'"</p> <p>Most of the work took place in what employees call Jim's garage, a 20,000-square-foot warehouse across the street from Red's massive headquarters. The team quickly concluded that existing technology was inadequate. The guts of the camera—the image sensor and all the accompanying circuitry—would have to be created from scratch. It was a daunting challenge, but the fact that Jannard's management style falls somewhere between Mr. T and Steve Jobs on the autocracy scale helped. "What separates us from other camera companies is that the vision guy is the decisionmaker," he says. "That was one of my biggest advantages at Oakley, and it's the same at Red—I'm in the trenches, in the product development, and I make the final call. Red is a benevolent dictatorship."</p> <p><strong>The video revolution</strong> has been on pause in Hollywood. Just as digital still cameras now rule the photography market, hi-def digital movie cameras were supposed to replace film. But moviemakers never fully bought in. Typical digital videocams use prisms to split incoming light by color and send it to three separate sensors, which tends to soften images. Onboard software sharpens the footage but also introduces halos and exaggerated edges. Worse, the small sensors put too much of the picture in focus, giving it a canned look. Cinematographers hate that; the ability to guide the viewer's eye by selectively blurring focal planes is one of their favorite techniques. "That's a storytelling tool," says Pierre de Lespinois, a producer and director who spent three weeks in April filming a feature in the Mojave Desert with two Red Ones. "In HD, what's right in front of the lens and what's 20 feet away are both sharp, so the image looks flat."</p> <p>To compete with celluloid, a digital cine-camera would need an image sensor identical in size and shape to a single frame of 35-mm motion picture film. Without that, the Red couldn't give filmmakers the control over depth of field, color saturation, tonality, and a half dozen other factors that 35-mm film provides.</p> <style type="text/css"> .nDiv {width:300px;float:right;margin:0px 0px 12px 12px;} .nTable {color:#fff;font-size:0.87em;} .nTable td {padding:4px;border-right-style:solid;border-right-width:3px;border-right-color:#A3A3A3;} .nTable img {display:block;margin-bottom:12px;border:1px solid #A3A3A3;} .nTable .cell1 {width:20px;background-color:#464748;font-family:courier new;line-height:0.85em;font-weight:bold;text-align:center;} .nTable .cell2 {background-color:#716c66} .nTable .cell3 {background-color:#716c66} .nTable .cell4 {background-color:#d4201f;border-right-style:none;} </style> <div class="nDiv"> <h3>Why The Red Rocks, Part II</h3><br /><table class="nTable" border="0" cellpadding="0" cellspacing="0"> <tbody><tr valign="top"> <td class="cell1" rowspan="2"> C<br /> A<br /> M<br /> E<br /> R<br /> A </td> <td class="cell2"> Film<br /> (Example: Panavision<br /> Millennium XL-2) </td> <td class="cell3"> 2K and HD Digital<br /> (Example: Sony F23) </td> <td class="cell4"> 4K Digital<br /> (Example: Red One) </td> </tr> <tr align="center" valign="top"> <td class="cell2"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_1.jpg" /> </td> <td class="cell3"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_4.jpg" /> </td> <td class="cell4"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_7.jpg" /> </td> </tr> <tr valign="top"> <td class="cell1" rowspan="2"> C<br /> O<br /> S<br /> T<br /></td> <td class="cell2"> Rents for about <br /> $25,000/month </td> <td class="cell3"> $150,000 </td> <td class="cell4"> $17,500 </td> </tr> <tr align="center" valign="top"> <td class="cell2"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_3.jpg" /> </td> <td class="cell3"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_9.jpg" /> </td> <td class="cell4"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_15.jpg" /> </td> </tr> <tr valign="top"> <td class="cell1" rowspan="2"> L<br /> E<br /> N<br /> S<br /> E<br /> S<br /></td> <td class="cell2"> Proprietary or <br /> standard mount </td> <td class="cell3"> Proprietary mount </td> <td class="cell4"> Standard mount </td> </tr> <tr align="center" valign="top"> <td class="cell2"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_4.jpg" /> </td> <td class="cell3"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_10.jpg" /> </td> <td class="cell4"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_16.jpg" /> </td> </tr> <tr valign="top"> <td class="cell1" rowspan="2"> C D<br /> O I<br /> S G<br /> T I<br /> T<br /> T I<br /> O Z<br /> E<br /></td> <td class="cell2"> $300,000 and up </td> <td class="cell3"> $0 (already digital) </td> <td class="cell4"> $0 (already digital) </td> </tr> <tr align="center" valign="top"> <td class="cell2"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_5.jpg" /> </td> <td class="cell3"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_11.jpg" /> </td> <td class="cell4"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_17.jpg" /> </td> </tr> <tr valign="top"> <td class="cell1" rowspan="2"> E S<br /> D O<br /> I F<br /> T T<br /> I W<br /> N A<br /> G R<br /> E<br /></td> <td class="cell2"><br /></td> <td class="cell3"><br /></td> <td class="cell4"><br /></td> </tr> <tr align="center" valign="top"> <td class="cell2"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_6.jpg" /> </td> <td class="cell3"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_12.jpg" /> </td> <td class="cell4"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_18.jpg" /> </td> </tr> </tbody></table><br /><em>Icons by Jason Lee</em> </div> <p>You'll find that kind of full-frame sensor at the core of any high-end digital single-lens reflex camera. But they're designed to shoot no more than 10 frames per second. That's warp speed for still photographers but barely first gear for filmmakers. Movies are shot at a minimum of 24 frames per second, with some scenes topping out at 120 fps for slow-motion effects. The Red's sensor would have to do everything a DSLR sensor does—and do it significantly faster.</p> <p>The camera also had to be able to record in the same bulky file format that DSLRs use—called raw. The format preserves picture data in essentially unprocessed form, which gives photographers more latitude to tweak images with software the way they once did in a darkroom. (Cinematographers do the same thing with 35-mm film, but it's a complicated, expensive process: The film must be scanned into digital to be manipulated, then converted back to analog for projection.) Since a movie is just a long sequence of still pictures, using the raw format presented bandwidth and data-storage problems. A two-hour feature could run up to 7 terabytes. The Red engineers built a workaround, a lossless compression codec they call Redcode Raw.</p> <p>Finally, in August 2006, Jannard's team flipped the switch on Red's first prototype, codenamed Frankie. It wasn't really a camera at all, just a mechanical test bed containing the new sensor. "Our whole business was predicated on this sensor," Jannard says. "If it didn't work, we'd be cooked. When it did, it was like giving birth and counting all the fingers and toes to make sure everything was there. It was phenomenal. Everybody went nuts." Schilowitz remembers that moment, which camera makers call first light, as mind-blowing: "Everyone started screaming like little kids, 'First light! First light! It's alive!' The thing actually worked."</p> <p>Two weeks later, at an industry event in Amsterdam, Jannard showed test footage taken with Frankie—a clip of two perky women in '50s garb chugging milk from glass bottles—on a 60-foot screen. "People were stunned," Schilowitz says. "They were standing around scratching their heads. That moment made a lot of people into believers." Filmmakers didn't care how the Red One worked, but they liked what they saw. "The Red camera is the closest thing to film I've seen," says Tristan Whitman, a cinematography lecturer at USC.</p> <div style="margin: 0px 12px 0px 0px; padding: 6px; width: 250px; float: left;"> <h3>The Analog Advantage</h3><br /><div style="margin-bottom: 6px; font-size: 0.9em;">Typical 2K and HD digital movie cameras keep everything in focus. The 4K Red One is more like an analog camera, allowing depth of field control, which blurs the foreground or background. </div> <div id="embed"> <div id="pic"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera3_f.jpg" alt="" /> <div id="caption">Analog film lets moviemakers control the depth of field.</div> </div> </div> <div id="embed"> <div id="pic" style="margin-bottom: 12px;"> <img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera4_f.jpg" alt="" /> <div id="caption">2K and HD cameras force everything into focus.</div> </div> </div> </div> <p><strong>By March 2007</strong>, Red had assembled two additional prototypes, named Boris and Natasha. But now, with three weeks to go before NAB 2007, Jannard wanted new footage to show what the camera could do. He emailed Jackson, asking if the director could recommend a good cinematographer in Los Angeles to help create a Red promo spot. Not long after, Jackson telephoned. "Jim, why don't you fly down here to New Zealand, and I'll shoot the footage for you," he said.</p> <p>"Don't tease me," Jannard replied.</p> <p>"No, I'm serious," Jackson said. "Bring the cameras down."</p> <p>Jannard packed up Boris and Natasha, still crude machines with no features other than a run/stop button and a shutter, and headed south. When he got to Wellington, Jackson was ready. "Peter had put together an army," Jannard says. "He was going to shoot a mini-movie to put the cameras through their paces, using them on helicopters and Steadicams, crawling on the ground with them—and I'm thinking, 'Oh my gosh, I just hope they keep working through the weekend.'" Boris and Natasha performed flawlessly. "We stayed at Peter's house, and he was just beaming because he was having so much fun." Jackson delivered his 12-minute featurette, titled <cite>Crossing the Line</cite>, the night before the NAB Show opened.</p> <p>Jannard shows me the film at Red headquarters. His desk is in an open workspace that he shares with six staffers and his puppy. Next to his computer there's a box of the Montecristos he favors and a pinewood crate from Napa Valley Reserve, the world's most exclusive wine club. Members reportedly pay up to $145,000 to join, in exchange for which they can partake in grape harvests and create their own blends. There's something oddly honorable about a billionaire with insanely expensive taste in wine but no office.</p> <p>I watch <cite>Crossing the Line</cite> on Jannard's 30-inch HD display while he stands behind me. The film, set on the front lines of World War I, alternates between aerial dogfights and bloody ground combat. The screen resolution is about half what it would be in a theater. Nevertheless, it's like looking through a window onto a battlefield. I can barely discern a single pixel. The detail is stupefying; the colors are rich and sensual.</p> <p>After NAB 2007, Jannard showed <cite>Crossing the Line</cite> at the Directors Guild in LA. "I rearranged my travel plans to be there," Soderbergh says. After he saw the film, he called Jannard.</p> <p>"Jim, I'm all in. I have to shoot with this."</p> <p>"OK, great," Jannard said. "But what does that mean?"</p> <p>"I'm making two movies with Benicio del Toro. Come to my house, and we'll do a test. If it looks as good as what I saw in Peter's film, I want these cameras for my movies."</p> <p>Soderbergh took two prototypes into the Spanish wilderness. "It felt like someone crawled inside my head when they designed the Red," he says. What impressed him most was the cameras' sturdiness. Movie sets are often a flurry of crashes and explosions, which can vibrate sensitive electronics, introducing visual noise known as microphonics into images. "A lot of cameras with electronics in them, if you fired a 50-caliber automatic weapon a few inches away—which we did—you'd get microphonics all over the place," Soderbergh says. "We beat the shit out of the Reds on the Che films, and they never skipped a beat."</p> <p>Then there's the economics: The Red One sells for $17,500—almost 90 percent less than its nearest HD competitor. The savings are even greater relative to a conventional film camera. Not that anyone buys those; filmmakers rent them, usually from Panavision, an industry stalwart in Woodland Hills, California. Panavision doesn't publicize its rates, but a Panavision New Zealand rental catalog quotes $25,296 for a four-week shoot—more than the cost of <em>purchasing</em> a Red. "It's clearly the future of cinematography," Peter Hyams says. "You can buy this camera. You can own it. That's why people are excited."</p> <p>Even so, traditionalists cling to film's reliability. Film is tangible. Hard drives crash; files get corrupted. "You put film in a can and stick it on a shelf, and it costs $1,000 a year to store," says Stephen Lighthill, who teaches cinematography at the American Film Institute. "With a project that starts as data, you have it on a hard drive, which has to be nursed and upgraded. It's an electronic, mechanical device that can't be left unplugged." Preserving a 4K digital master of a feature film would cost $12,000 a year, according to a report by the Academy of Motion Picture Arts and Sciences. And that doesn't address the reliability of the camera itself. "In the slammin', jammin' world of production, you want a really tough machine that takes very simple approaches to problems," Lighthill says. "I'm not sure Red is the way to go. It's a supercomputer with a lens on it."</p> <p>Proponents dismiss such criticism as Luddite drivel. "Hollywood is just used to shooting on film," says Bengt Jan Jönsson, cinematographer on the Fox TV show <cite>Bones</cite>. "Honestly, if you proposed the film work-flow today, you'd be taken to the city square and hung. Imagine I told you we're going to shoot on superexpensive cameras, using rolls of celluloid made in China that are a one-time-use product susceptible to scratches and that can't be exposed to light. And you can't even be sure you got the image until they're developed. And you have to dip them in a special fluid that can ruin them if it's mixed wrong. People would think I was crazy."</p> <p><strong>As Reds infiltrate</strong> Hollywood, the typical filmgoer might not notice much difference at first. After all, once they're projected onto a cineplex screen, movies shot with Jannard's camera will look like the analog movies audiences are used to. But the camera's ease of use and lower cost are sure to change the industry. "There's talent on the streets, kids with ideas who have stories to tell and never get a chance," Jannard says. "Up to now, they've been limited to tools that confine their stories to YouTube." Access to this kind of tech will make it easier for aspiring auteurs to break in and could ultimately expand the range and variety of films that get made.</p> <p>Of course, most theaters still show movies the old-fashioned way, running analog film in front of a bright light. For now, pictures shot with the Red must be transferred to celluloid for distribution. It's a cumbersome system: A full-length feature might take as many as five (heavy, expensive to print) reels. A major release goes to at least 3,500 theaters. Plus, the celluloid stock gets damaged and dirty and has to be sent in for cleaning and repair after every few dozen screenings.</p> <p>Luckily, analog projection seems to be on the way out. In March, four big Hollywood studios announced plans to retrofit 10,000 screens—about a quarter of the US total—for digital projection at 2K. Movies shot with Red's 4K camera will look every bit as good as those shot on film, and they'll all be ads for the company's next camera, the Epic, with more than 5,000 lines of resolution. That's a knockout pixel punch. I ask Jannard if Red plans to develop a 4K projector or perhaps even a 5K that it would market to theater owners. He's cagey. "I will say that the future of motion-capture will be digital," he says, "and I think you can extend that to say the future of presentation will be digital."</p> <p>Jannard is doing his best to fulfill that prophecy. He spends nights on the company's Internet user forums sifting through customer feedback, answering technical questions, and addressing rumors about upcoming products. "I'm passionate about this because I'm building the camera I've always wanted to shoot with," he says. "When my grandkids and great-grandkids look back, they're going to say I was a camera builder. I did handgrips and then goggles and then sunglasses to prepare myself. But cameras are magic."</p> <p><cite>Michael Behar</cite> (<a href="mailto:michael@michaelbehar.com">michael@michaelbehar.com</a>) wrote about computer graphics guru Jos Stam in issue 16.01.</p></div>John Weehttp://www.blogger.com/profile/10956205209097316462noreply@blogger.com2tag:blogger.com,1999:blog-2340744993767473845.post-44024971479533448932008-08-20T19:51:00.002-05:002008-08-20T19:54:24.404-05:0070% of Bourne Ultimatum was shot with 2 Nikon SLR Zoom Lenses.<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.ascmag.com/magazine_dynamic/September2007/TheBourneUltimatum/images/mag_BU_title.jpg"><img style="cursor: pointer; width: 320px;" src="http://www.ascmag.com/magazine_dynamic/September2007/TheBourneUltimatum/images/mag_BU_title.jpg" alt="" border="0" /></a><br /><span class="artheader"><br /><br />Taken from: <a href="http://www.ascmag.com/magazine_dynamic/September2007/TheBourneUltimatum/page1.php">American Cinematography Magazine Sept 2007 Edition.</a><br /><br />Cinematographer Oliver Wood circles the globe for The Bourne Ultimatum, the third installment of the action franchise.<br /><br /> Based on a character created by Robert Ludlum, the Bourne trilogy — The Bourne Identity, The Bourne Supremacy and The Bourne Ultimatum — focuses on a somewhat more cerebral agent than those found in most action movies, one who is always several steps ahead of those pursuing him. All three pictures were shot by Oliver Wood, who notes that “the franchise has an unscripted, spontaneous quality, like we were lucky the cameras happened to be rolling at the right moment. That applies not only to the cinematography, but also to the acting and the way the scenes are blocked.” This was especially true on the recently released Bourne Ultimatum, which reunited Wood with Bourne Supremacy director Paul Greengrass. Filmed on location around the world and featuring elaborate chases and other set pieces, the project commenced shooting last winter with a script that was still being hammered out and an early August release date looming on the horizon. “The way you make movies today is so fast,” says Wood. “An all-digital post compresses time.<br /><br />Everyone knows you can change things right up till the last moment. That can make it hard for a cinematographer to build in a look, but on this film that was okay. The style of these movies is a little offbeat, anyway.” In Bourne Ultimatum, amnesiac CIA agent Jason Bourne (Matt Damon) continues his quest to discover his identity and remember details from his past. This time the search takes him to Moscow, Paris, Madrid, London, Tangier and New York, and his efforts are hampered by the fact that he is wanted by law-enforcement agents around the world, and by a group of deep-cover CIA agents supervised by Noah Vosen (David Strathairn). Greengrass’ preference for imagery that has a spontaneous feel gave Wood some leeway, in the sense that a fluorescent interior could go a little green, a composition didn’t have to be perfect, and focus could be a bit off for part of a shot, and it would all work within the overall visual style.<br /><br />“Paul trusts his designers and cameramen,” says Wood. “He’s more interested in what the actors are doing and the story of the scene than the camera angles.” Wood and his crew captured the action in an almost documentary fashion, giving Greengrass and the editors plenty of coverage options in the cutting room. The cinematographer emphasizes that it requires an extremely skilled camera crew to create the illusion that something just “happened,” and he credits his operators and assistants for their talent and professionalism. “I worked with a mostly English and American crew on Bourne Ultimatum, and they were very attuned to the situation — they’d done a movie before, if you know what I mean. We were also lucky to have very good people on our second unit, especially [director/stunt coordinator] Dan Bradley and [cinematographers] Mark Moriarty and Igor Meglic, and we kept close contact with them.<br /><br />“The position of the director of photography nowadays is more that of an organizer and administrator,” he continues. “I’m brought into discussions very early on, and I go on prep whenever possible. But during shooting I might have to leave the set to prepare other stages, and I need to know I can rely on excellent A-camera operators who can run the camera department while I’m gone.” On Bourne Ultimatum, as on Bourne Supremacy, Wood’s right-hand men were A-camera operator Klemens Becker and B-camera operator Florian Emmerich. With Greengrass, the action is always covered with two or more cameras, usually handheld. “Sometimes we’d have a second camera, or a third and fourth, on a dolly with a 12:1 zoom, but we’d set it up to have that kind of loose feeling,” says Wood. Working handheld “is physically very demanding work. Being on a dolly or crane is a lot easier than picking up the camera and running around, zooming. Klemens and Florian are great. I would have been burned out in a few days trying to do what they did!” The cinematographer pulled focus early in his career and expresses a particular appreciation of that job, especially on films as kinetic as this one. “Pulling focus can be the most nightmarish position on the set.<br /><br />There are so many sleepless nights. Very few people know how hard it is to be a focus puller.” “On most shows everything has to be sharp, but Paul and Oliver gave everybody freedom,” says A-camera 1st AC Birgit “Bebe” Dierken, who also worked with Greengrass on United 93 (shot by Barry Ackroyd, BSC; see AC June ’06). “At first it’s hard to let things go out of focus, but after a couple of weeks you get used to it and realize it gives you creative input. Suddenly you’re throwing into focus what you think is important, following your own instincts and those of the operator; if I felt a hand in the foreground should be more dominant, I’d focus on that. Oliver is very supportive, and he has so much enthusiasm for the job that it’s contagious. It makes everyone more excited and willing to experiment.” The production’s camera package was supplied by Arri Media in London. The main cameras — Arricam Lites and Arri 235s — were focused remotely with Arri’s LCS-3 wireless remote-focus system. Operators could control the zooms while shooting handheld, and the focus pullers would use their monitors and judgment to control focus.<br /><br />The picture was shot in Super 35mm full frame, without hard mattes. “I like to have everything on the negative,” says Wood. “I reframe things in the digital intermediate [DI] quite often.” The production carried Cooke S4 primes lenses and an Arri LWZ 15.5-45mm zoom, but the crew “mostly used lightweight zooms that I had specially made from two Nikon digital still-photography lenses, a 28-70mm and an 80-200mm,” says Wood. “Arri in Munich converted them to lightweight cinema-style zooms, and they work quite well. The Nikon glass is brilliant.” Dierken notes, “We called them the Oliver Lenses, and they helped the operators shoot everything handheld with the documentary approach Oliver and Paul wanted. Unlike other zooms, which are either too heavy or too slow, these zooms opened up to T2.8 and were quite light. Arri made the housings in six weeks, and the lenses turned out to be very sharp and the contrast was quite good. [Still-photography] lenses turn the opposite of the way cine-style lenses do, which could have been unpleasant if we’d used a normal follow focus, but with the LCS-3 we were able to just reverse the gears.<br /><br />The lenses worked so well that we ended up shooting 70 percent of the movie with them, and now Arri is making more!” Wood shot Bourne Ultimatum on two Kodak Vision2 emulsions, 250D 5205 and 500T 5218. “I used to rate Kodak’s 500-speed stocks at [EI] 320 or 400,” he says, “but with the Vision2 stocks I don’t need to get quite such a thick negative to get the same result, so I actually rated them at what was written on the can.” One of the major set pieces in the film concerns a chase over rooftops and through a series of apartment buildings in Tangier, Morocco, overlooking the large marketplace called the Medina. Moriarty, the 2nd-unit cinematographer in England and Morocco, explains, “Bourne is following two people from afar, so we were on the rooftops about 70 feet up.<br /><br />The special-effects department positioned a massive cable rig for the camera that spanned six buildings; it was held up on one end by a crane and on the other by the roof of a building. Dan Bradley likes to do setups many different ways and run at least three cameras for every take, so we got a great deal of coverage.” Moriarty notes that such work in a place like Morocco can present problems he wouldn’t expect to encounter in some other countries. “We wanted to get a Chapman Lenny 2 crane on the roof for some shots, and we all agreed we could do it, but then all of a sudden someone got cold feet.<br /><br />The crane weighs a lot, and you can’t just check the building specs in Morocco like you can in Britain or America. The buildings are at least 100 years old, and they don’t have all that information.” The house-to-house chase also has Bourne jump from a rooftop into a window 12' below. He smashes through wooden shutters into a kitchen, and the chase continues through the apartment. This, too, was covered numerous ways, and Moriarty was particularly pleased with the subjective angle captured by Damon’s stunt double, who really made the jump with an Arri 235 strapped to his body. “I don’t know how it’s going to be cut together, but that shot really gives you the reality of someone taking that leap,” he says. For the action inside the building, Moriarty had to make the best of certain limitations. “We couldn’t bring in big units — you can’t even get cars near that area,” he says. “The largest lights we could use were 4Ks. Since all the buildings are in close proximity, we could put some of these units in windows of other buildings and make it look like the kind of direct, intense sunlight they have there. It was restrictive, but it worked well.” Inside the apartment, the crew built a rig into the ceiling (upside-down track, essentially) that could guide an operator following an actor from room to room, around corners, into another room and across to the next building.<br /><br />One of the shots Moriarty is most pleased with made use of a very low-tech rig. When Bourne runs across a roof and into a doorway leading to a walkway to the roof of the next building, it was important to be able to let Damon run at full speed with a camera staying ahead of him. “Obviously, you can’t have an operator running backwards as fast as a man running forward,” says Moriarty. “There was really no room for tracks in the doorway, plus you would’ve seen them in the shot. So instead, we rigged a two-wheel upright trolley, modified it with scaffolding poles and strapped an operator into it; we had three grips pulling it backward while Matt was running forward for about 50 meters. I’m quite proud of that shot and hope it’s in the film. Sometimes the simplest rigs work the best.” Gaffer John “Biggles” Higgins recalls that things got a little heated during the Morocco shoot. “There are good lighting people in Morocco who are very efficient, friendly and extremely helpful, but we were shooting during Ramadan, which wasn’t the best time to be in the area. During Ramadan Muslims don’t eat or drink during sunlight hours, and smokers aren’t supposed to smoke, either. Some fights broke out in the crowds around us when it was 3 in the afternoon and people hadn’t had a drink of water since 5 in the morning.<br /><br />There was no threat to the crew, but we kept police with us when we worked.” Of course, any country offers its own challenges to a production intent on shooting big action sequences in crowded locations. Higgins cites a scene set in London’s Waterloo Station, where Bourne has arranged to meet a reporter who might have valuable information. Their meeting is cut short when a mob of agents swarms the pair. “Waterloo is one of the busiest stations in England, maybe all of Europe,” says Higgins. “So many people pass through there each day that we just couldn’t have any cables running through.” Wood adds, “We could only shoot between 10 a.m. and 4 p.m., and it was midwinter, so the sun was down by 3:30. At first I thought we could float lots of lighting balloons, but they forbade me to do it. So a few weeks before we were scheduled to shoot there, I went in at 4 p.m. and took some stills and light readings, and I discovered that even when the sun was down, the [practicals] in the station gave me a T2.8, and I knew we could work with that if we had to.” This was mainly achieved by adding small bulbs to the station’s existing lights. “Everything had to be run on batteries, so all I had were two Image 80 Kino Flo packs on shopping carts and two smaller HMIs with Chimeras. I used those four lights to pick up various things in the shot. Sometimes I didn’t use them at all, and sometimes I’d string all four of them behind the camera just to provide a little ambience.”<br /><br />Sometimes Wood found himself shooting in one country while one of the gaffers was prepping a location in another. He was in London while German gaffer Ronnie Schwarz was preparing a large space in Berlin (standing in for Moscow) for the opening scene of the movie. “It’s a huge scene,” says Wood. “It picks up where Bourne Supremacy left off, with Bourne wounded in Moscow, looking for a drugstore, and getting into an altercation with the police. We made snow and lit enormous areas of Berlin; people from other productions were calling up asking when we’d be finished, because we had every 18K in Germany! We also had HMIs, Maxi-Brutes and Dinos.<br /><br />I like to mix cold and warm color temperatures and often gel lights to make them blend with sodium or mercury-vapor streetlights.” Schwarz suggested to Wood that they use Google Earth to work out their lighting plan for the sequence. “We could both sit at our computers and zoom in to satellite pictures of the streets and discuss exactly where we could put lights,” says Wood. “I’d say, ‘See where that red car is parked? Put a Condor two meters up from that.’ And Ronny would say, ‘We can’t get a permit that close to the other street, but we can do it three meters the other way.’ We could zoom in on areas and see every alley and every building in perfect detail.” Higgins was the gaffer on most of the stage work, which was filmed at Pinewood and Shepperton studios, and he used the Light by Numbers system to control all the instruments on set. “We had all the lights on dimmers, and with Light by Numbers we could go from day to night onstage in less than five minutes,” he says. “You can control everything with a PDA. It’s a fantastic tool.” Wood notes that he has encountered resistance to Light by Numbers from some gaffers in the U.K. and the U.S., and he thinks this is unfortunate. “I would love to bring Light by Numbers to the States, but some people in the business are reactionary and old-fashioned,” he says. “In some ways the film industry is like a dinosaur — way behind other industries in terms of technology.”<br /><br />Light by Numbers was effective for all the stage work, he continues, particularly for the office, where the rogue agents led by Strathairn are headquartered. Full of desks, computers and people, portions of the space were surrounded by a TransLite of the Manhattan skyline. Depending on the time of day, the set was lit with rigs above, units outside and practicals inside. “With Light by Numbers, we could control all those lights from one spot,” says Higgins. “If Oliver wanted a little more light through one of the windows or a little less from a desk lamp, he could have it almost instantly.” Bourne Ultimatum climaxes with an elaborate car chase in the streets of New York, and many shots in this sequence were captured using a Go-Mobile, a picture-vehicle rig that was used on Bourne Supremacy, Dukes of Hazzard (see AC Web exclusive, Oct. ’05: www.theasc.com/magazine/oct05.htm) and other features. “The Go-Mobile is an ingenious thing, and we used it in three configurations,” says Meglic, who shot the second-unit work in New York. “For some shots we used the pod from the Go-Mobile on the RDV [remote drive vehicle], which diverts the basic car controls from the driver’s seat to the top of the vehicle, where the stunt driver sits. For other shots we attached the picture car to the Go-Mobile structure, and in the third configuration the front part of the car was removed, including the windshield, and the cameras got close to Matt in different positions — shooting through the steering wheel, for example. We didn’t drive it faster than 50 mph because it was the streets of New York, but it’s got a 500-horsepower engine and can go faster.<br /><br />With it we could position a Technocrane that could get any kind of angle on Matt driving and go out toward another car in the chase. It enabled us to get a near-miss with another car coming just a couple of inches from the camera.”<br /><br />Meglic used Arri 235s and 435s for most of his work, occasionally supplementing them with Eyemos. “We would slightly undercrank to about 22 fps — any slower would have been obvious,” he says. “But the Go-Mobile really helps make the audience feel like they’re right there. The objective was to make it look like we were catching the action by mistake, and that’s actually really hard to do. You’ve got to have the camera in the right position at the right time yet make it look like you weren’t expecting anything to happen!” Deluxe Laboratories in London processed most of the production’s footage, and although hi-def dailies were generated, Wood seldom viewed them. “When I watch dailies, I start to correct things that don’t need to be corrected,” he says. “In my younger days, I’d see dailies and lose my nerve and think, ‘That’s too dark,’ and then when I saw the print I’d kick myself for going brighter. I was lighting out of fear, and the only way to avoid that is by going with your gut feelings.” He did study negative reports to ensure the lenses were working fine and to check up on focus, and he also had Deluxe put his negative up on an analyzer to generate a set of timing lights. “I’ll usually watch dailies at the start just to see how the skin tones look, but once I know how an actor’s face works, I don’t want to see dailies again for the rest of the shoot.”<br /><br />The cinematographer says he enjoys the new freedom created by the digital-intermediate (DI) process. “I hated the old lab days. When I came into the business in the early ’70s, I wanted to shoot video because of the control you have with it in post. I was banging the video drum, but it wasn’t good enough. I still think film is the best recording medium, and with a DI I can pull out more information and better information than I could with any of the digital formats I’ve tested. But I shoot film differently than I used to. I don’t use filters at all. The less glass you can put in front of the lens, the better, and I can do that kind of image correction in the DI.” He also makes a lot of lighting adjustments in post. “There’s a scene in this movie where Matt is sitting in an interrogation room with his head down, and you can’t see his eyes,” he says. “When we shot it, I tried to put an eyelight in, but I hated the way it made him look ‘lit.’ So I took it away, and in the DI we drew two windows around his eyes and created an eyelight. It worked very effectively and looked far less artificial than the real eyelight did.” On Bourne Ultimatum, there were occasionally frustrating moments in the DI because a lot of that work had to be done before material from reshoots and visual-effects houses became available. Working with colorist Stephen Nakamura at Technicolor Digital Intermediates in Burbank, Wood had to contend with the fact that “every other scene had a big black card that said, ‘Missing.’ So much of timing a movie is about blending.<br /><br />I’ve shot sequences that were done half in a blizzard and half in full sunshine, and then I’d work with the timer to make it look consistent. That’s what timing is about. So when you’re missing a lot of shots, you’re limited in how much you can accomplish.” Nakamura adds, “If there are a lot of shots missing we can’t finalize a scene. Effects artists sometimes think their shots can just be cut in, but they still need to be color-corrected. It’s not enough for the shots to look good by themselves; the contrast and color have to work in the context of the surrounding shots.” Having said that, Nakamura adds, “I’ve used fewer windows and less video color correction for this film than for any movie I’ve graded in the past three years. It’s the look of the franchise — if there’s a flare or if something is a little soft, that’s okay.” “I think that in the end, as long as it’s cool the audience will go for it,” says Wood.<br /><br /><br />TECHNICAL SPECIFICATIONS<br /><br />2.40:1 Super 35mm<br /><br />Arricam Lite; Arri 235, 435; Eyemo<br /><br />Nikon, Cooke and Arri lenses<br /><br />Kodak Vision2 250D 5205, 500T 5218<br /><br />Digital Intermediate<br /><br />Printed on Kodak Vision 2383<br /></span>John Weehttp://www.blogger.com/profile/10956205209097316462noreply@blogger.com1tag:blogger.com,1999:blog-2340744993767473845.post-20198870527507797042008-08-20T19:22:00.004-05:002008-08-20T19:26:34.543-05:00Panasonic HPX170 User Manual & Spec Sheet.<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://catalog2.panasonic.com/webapp/wcs/stores/images/models/aghpx170puj.jpg"><img style="cursor: pointer; width: 320px;" src="http://catalog2.panasonic.com/webapp/wcs/stores/images/models/aghpx170puj.jpg" alt="" border="0" /></a><br />The spec sheet and user manual for the new Panasonic Hpx-170 is out. This camera is an hot item and expect to see it more on the Indie crowd. You should be able to own one for around $5200. There is no better way to get to know a camera than to study it's user manual. Get the manuals and spec sheet <a href="http://catalog2.panasonic.com/webapp/wcs/stores/servlet/ModelDetail?displayTab=O&storeId=11201&catalogId=13051&itemId=280234&catGroupId=34401&surfModel=AG-HPX170">Here.</a>John Weehttp://www.blogger.com/profile/10956205209097316462noreply@blogger.com1tag:blogger.com,1999:blog-2340744993767473845.post-75026130908116450902008-08-20T18:08:00.004-05:002008-08-20T19:27:10.395-05:00Protection for your Redrock Filters.Thank you to <span style="font-weight: bold;">Mark Gervasoni</span> from <a href="http://newmediadevelopmentcorporation.com/">New Media Development Corporation</a> for alerting me about the promaster microfiber pouch. These fits the Redrock Filters perfectly and still slide easily into the Red Rock padded bags. You can color coordinate them, too by the type of filter if desired. Cost locally was $4 each. You need the size large ones.<!-- / message --> <!-- sig --><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://promaster.com/products/thumb.asp?image=DIGIPOUCHL.jpg"><img style="cursor: pointer; width: 320px;" src="http://promaster.com/products/thumb.asp?image=DIGIPOUCHL.jpg" alt="" border="0" /></a><br />Find your local dealer <a href="http://www.promaster.com/dealers.asp">here</a>. (Note: I do not benefit a single cent from any companies featured on my little blog here).John Weehttp://www.blogger.com/profile/10956205209097316462noreply@blogger.com0tag:blogger.com,1999:blog-2340744993767473845.post-38234251529320166782008-08-12T20:49:00.015-05:002008-08-21T22:17:43.076-05:00'Four Years' a 35mm Memphis short film Part IHave you ever been to a shoot where everything is just jiving together perfectly with radiating positive energy; and you cant wait to wake up next day and work some more on the set ? I am truly blessed to have the privileged to meet & work with these group of talented filmmakers on the set of 'Four Years'.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguAW2G6fcy4QkO7c44GYqRp5QOYA07PXk7wVFwR1hw7MJMSs4OwCY2vAMq-gJeFdQ3scYkCui3p3mohU8fDvjCyfpHUSkheyd3u9xqUPPT9Rt7ImtsDml16uXylOaBtnrc1Hd4BK65C8Q/s1600-h/The_JE_Slider.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguAW2G6fcy4QkO7c44GYqRp5QOYA07PXk7wVFwR1hw7MJMSs4OwCY2vAMq-gJeFdQ3scYkCui3p3mohU8fDvjCyfpHUSkheyd3u9xqUPPT9Rt7ImtsDml16uXylOaBtnrc1Hd4BK65C8Q/s320/The_JE_Slider.jpg" alt="" id="BLOGGER_PHOTO_ID_5233814467001728466" border="0" /></a><span style="font-size:85%;"><br />Jim Exton, the Director, Producer and Cam Op and inventor of the ingenious JE dolly slider.</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxVfsPyjt3tPA83LiD7iCJHzlek7AuA9NbU_pt3hyphenhyphenfy6sFBudkZjR4Ke23T4IGEMZAJZapJajS5r9gP3JMgFe3FmV6BCWsa5pJiAcAet2e0-98x6EAU3QKzE5QLDLq_kD8h9NrEc_Gf-Q/s1600-h/Stephen_DP.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxVfsPyjt3tPA83LiD7iCJHzlek7AuA9NbU_pt3hyphenhyphenfy6sFBudkZjR4Ke23T4IGEMZAJZapJajS5r9gP3JMgFe3FmV6BCWsa5pJiAcAet2e0-98x6EAU3QKzE5QLDLq_kD8h9NrEc_Gf-Q/s320/Stephen_DP.jpg" alt="" id="BLOGGER_PHOTO_ID_5233814403953728850" border="0" /></a><br /><span style="font-size:85%;">Stephen Leet the DP with his China Balls and some duventyne.</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvHXAIlv2C2ktnhTGMFD3U0fO8tUKXyvQtq-dcKrEfKo8XQiZv_s7HNk_Q8zS0nsTR4O-3yLrsUpF-Sbys2R34WWDn1JoFHdVL0FL6NdxhAytwoZ3n6p4LtB-74TdXyeHMogpjNRrdxD0/s1600-h/Mattew_night_scene.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvHXAIlv2C2ktnhTGMFD3U0fO8tUKXyvQtq-dcKrEfKo8XQiZv_s7HNk_Q8zS0nsTR4O-3yLrsUpF-Sbys2R34WWDn1JoFHdVL0FL6NdxhAytwoZ3n6p4LtB-74TdXyeHMogpjNRrdxD0/s320/Mattew_night_scene.jpg" alt="" id="BLOGGER_PHOTO_ID_5233814334714738850" border="0" /></a><br /><span style="font-size:85%;">Matthew Bowling, grip; on the outdoor night scene.</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9lxVwliFQTD6hnE2mz5JOlgNPH9zFqPAfNYbHI3e6nBhSGFiB-lgfATr0_46uTPkkTrpKPhZtU74jkFNI7ogp22qmJmPUmAsrKmcCR7thmLWiz5cdBHVWhfPE7JkzsztPGuFc-I3OvyI/s1600-h/James_buchanan_lead.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9lxVwliFQTD6hnE2mz5JOlgNPH9zFqPAfNYbHI3e6nBhSGFiB-lgfATr0_46uTPkkTrpKPhZtU74jkFNI7ogp22qmJmPUmAsrKmcCR7thmLWiz5cdBHVWhfPE7JkzsztPGuFc-I3OvyI/s320/James_buchanan_lead.jpg" alt="" id="BLOGGER_PHOTO_ID_5233814154423347682" border="0" /></a><br /><span style="font-size:85%;">James Buchanan, the lead actor.</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiU9fFRjXlxBGadf1xLibCJ6S7LIlt0jR-gyIF8holPdcMV-IyCJTAlOW85yJcpgUhWma4MYS_a4qvfKrdnuGIcRwM-GJ51qRAAgu_mtlD-Cj75yCGcsMJ___Kfdi2DkgyRXRAUzWQGhE/s1600-h/Arriflex_BL2_Outdoor_Night_Scene.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiU9fFRjXlxBGadf1xLibCJ6S7LIlt0jR-gyIF8holPdcMV-IyCJTAlOW85yJcpgUhWma4MYS_a4qvfKrdnuGIcRwM-GJ51qRAAgu_mtlD-Cj75yCGcsMJ___Kfdi2DkgyRXRAUzWQGhE/s320/Arriflex_BL2_Outdoor_Night_Scene.jpg" alt="" id="BLOGGER_PHOTO_ID_5233814078659993602" border="0" /></a><br /><span style="font-size:85%;">The Arriflex BL-2 35mm Camera with prime lens.</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHPRax4DPLn1ZsnivA6fdQaLPLb1UI1KbPRQrMUW5rfwBqxYR3F4q-3krt_JSBaNvTHCz8hpp1L2RzJPmkClxj1ceW_IwIdMnQDaMlu8fX0TMDda7UB-cpTBQ3jQGPD9cfMLo1bsP2EcY/s1600-h/1st_scene.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHPRax4DPLn1ZsnivA6fdQaLPLb1UI1KbPRQrMUW5rfwBqxYR3F4q-3krt_JSBaNvTHCz8hpp1L2RzJPmkClxj1ceW_IwIdMnQDaMlu8fX0TMDda7UB-cpTBQ3jQGPD9cfMLo1bsP2EcY/s320/1st_scene.jpg" alt="" id="BLOGGER_PHOTO_ID_5233813982508960642" border="0" /></a><br /><span style="font-size:85%;">Jim checking his shot list.</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjsxrv0tGJnnGprb64VvPNd12uWQ-Ewjr97rQnEgGUaegOtCVWPRoP6bSrno32ZtASl1I5Xl72Z0ebh2Hho2FsYOk6we76i9WQAYpnAdiUJlsqU-ii-0ZbpweJlLtynArpOK4jvRF1AQw/s1600-h/1st_scene_setup.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjsxrv0tGJnnGprb64VvPNd12uWQ-Ewjr97rQnEgGUaegOtCVWPRoP6bSrno32ZtASl1I5Xl72Z0ebh2Hho2FsYOk6we76i9WQAYpnAdiUJlsqU-ii-0ZbpweJlLtynArpOK4jvRF1AQw/s320/1st_scene_setup.jpg" alt="" id="BLOGGER_PHOTO_ID_5233813898915806098" border="0" /></a><br /><span style="font-size:85%;">Jim framing and compositing on the first scene of 'Four Years'.<br /><br />Shooting continues Aug 16th + 17th 2008.<br /></span>John Weehttp://www.blogger.com/profile/10956205209097316462noreply@blogger.com0tag:blogger.com,1999:blog-2340744993767473845.post-50552675625969600502008-08-08T20:01:00.005-05:002008-08-12T21:02:00.576-05:00'Four Years' a 35mm short film.I am donating 2 weekends to help out with a friend's shoot. 'Four Years' is based on a short story of the same name by author <a href="http://www.dwsmith.net/">Dan Smith.</a> We will be using the old Arri 35bl film camera. Follow up with our progress here on <a href="http://jim-exton.blogspot.com/">Jim's blog</a> if you are interested.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.downstream.ca/gifs/BL41.jpg"><img style="cursor: pointer; width: 320px;" src="http://www.downstream.ca/gifs/BL41.jpg" alt="" border="0" /></a>John Weehttp://www.blogger.com/profile/10956205209097316462noreply@blogger.com0tag:blogger.com,1999:blog-2340744993767473845.post-46686627283451193782008-08-07T17:30:00.017-05:002008-08-12T21:03:12.504-05:00How To Save Some Money.Ok so, Zacuto stuff rocks, there is no denying that fact. Unfortunately, in terms of affordability, Zacuto required that you take a second mortgage on your house. Let's say you just bought a brand new external HD LCD monitor (like the Marshall, Panasonic or the Carrion) to help you with composition/framing/focusing ..etc...etc on your camera. The Zacuto Z-American arm is pretty much the only solid option that is available on the market today. Trust me on this one, and just skip the Noga noodle nightmare.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://store.zacuto.com/images/D/zamericanv3l.jpg"><img style="cursor: pointer; width: 320px;" src="http://store.zacuto.com/images/D/zamericanv3l.jpg" alt="" border="0" /></a><span style="font-size:85%;">Possibly the strongest and best articulated arm in the industry.</span><br /><br />A new Zacuto size Large Z-American Arm V3(version 3 with the chrome balls) will run you dry for $215.00, and then you need an attachment point on both ends of the arm. A Zacuto Zicro Mount II costs $95 each. That will allow you to thread in the Zicro Mount II into the handle of your camcorder and another Zicro Mount II to thread into the bottom of your HD LCD monitor. Total costs is $405.00 and now you have weight that has a high center of gravity that will wreck havoc to your tripod head.<br /><br />A better method is to have the HD Monitor close to your tripod center of gravity. In order to achieve that, you need the Zacuto Z-mount II at $144.00, now your total becomes $454.00 ($215 (arm) + $95 (Zicro mount II) + $144 (Z-mount) ). Yikessss !!<br /><br />Ok, now, all you need is 2x Redrock new micro mount at $40 each and you are all set. This setup is not only cheaper but gives you more options than the Zacuto system.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCgqFS3l8A8MtyyOil1e7ZaxrspuY3I1LybSSxq60RcQ98UYYs9uS9Nmx-hWPu28uGdtoegQGFcO0JbQYdk7_GIawP-y9CREocXsSRzQeZx6XGDnDgpVXD8VhnbAzNCtZWSeu1edocQK4/s1600-h/mount+monitor.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCgqFS3l8A8MtyyOil1e7ZaxrspuY3I1LybSSxq60RcQ98UYYs9uS9Nmx-hWPu28uGdtoegQGFcO0JbQYdk7_GIawP-y9CREocXsSRzQeZx6XGDnDgpVXD8VhnbAzNCtZWSeu1edocQK4/s320/mount+monitor.jpg" alt="" id="BLOGGER_PHOTO_ID_5231915107414763890" border="0" /></a><span style="color: rgb(255, 0, 0); font-weight: bold;">Step 1:</span> Slide a Redrock Micro Mount to one end of the Zacuto Z-American Arm and thread your HD LCD Monitor into the stud. Tighten both levers and you are all set to go.<br /><br /><span style="color: rgb(255, 0, 0); font-weight: bold;font-size:130%;" >You have 2 choices for Step 2 with the Redorock Micro Mount.</span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-u0w2UxM8URy3tU8SMO0q7aAD36SSdj2tYsXwK0OjylXRxbHzY-olI08oHkxIRUUn1vDSDR7r5fdq4xbBJJjClHw-nQsyiPWbQzmKMOiKAG3v8rxFPpzVTry27wzsJiXkrN7ppSEQz2A/s1600-h/rod+mount.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-u0w2UxM8URy3tU8SMO0q7aAD36SSdj2tYsXwK0OjylXRxbHzY-olI08oHkxIRUUn1vDSDR7r5fdq4xbBJJjClHw-nQsyiPWbQzmKMOiKAG3v8rxFPpzVTry27wzsJiXkrN7ppSEQz2A/s320/rod+mount.jpg" alt="" id="BLOGGER_PHOTO_ID_5231913660142370274" border="0" /></a> <span style="color: rgb(255, 0, 0);">Option (A)</span> Mount the micro mount into the rod and then slide your Zacuto Z-American arm into the 15mm slot and then tighten the lever.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIkpCOxwTkOC2tYBU_Nl0fiAjfokpFFltKPz2ywNe_DRwWVacWumtv5lsCxPzjuOK2AxwVAO9ufo0QTvA9wQgXWlEOSm9TWU23wBbRbSoxoAjQmNBGpzHYSaWDY3NTOFSOKWooI-ZLGk0/s1600-h/rod+mounting.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIkpCOxwTkOC2tYBU_Nl0fiAjfokpFFltKPz2ywNe_DRwWVacWumtv5lsCxPzjuOK2AxwVAO9ufo0QTvA9wQgXWlEOSm9TWU23wBbRbSoxoAjQmNBGpzHYSaWDY3NTOFSOKWooI-ZLGk0/s320/rod+mounting.jpg" alt="" id="BLOGGER_PHOTO_ID_5231914027577983138" border="0" /></a> Now you can slide the Redrock Micro mount into the rear of your baseplate's rod. This setup also helps you counter balance your front heavy 35mm rigs. Use a bigger battery on your HD LCD monitor to get more counter balance weight.<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://lh5.ggpht.com/LuckyStudio13/SJuERQsE7dI/AAAAAAAAAMs/p-lVy1fmnkw/mount_on_handle2.jpg"><img style="cursor: pointer; width: 320px;" src="http://lh5.ggpht.com/LuckyStudio13/SJuERQsE7dI/AAAAAAAAAMs/p-lVy1fmnkw/mount_on_handle2.jpg" alt="" border="0" /></a> <span style="color: rgb(255, 0, 0);">Option (B)</span> Mount the Redrock Micro Mount upside down and then thread the stud into your camcorder's handlebar.<br /><br />You can get two RedRock Micro Mount for $80.00 or a pack of 3 Redrock Micro Mount for $ 100.00. Add the $215 Zacuto Z-Americam Arm (large) and you have a complete setup for only $280.00. This setup also allows you to have both setup options (Rod mounting or Handlebar thread mounting) unlike the Zacuto's.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://store.zacuto.com/images/D/Z_MO_2_alt1.jpg"><img style="cursor: pointer; width: 320px;" src="http://store.zacuto.com/images/D/Z_MO_2_alt1.jpg" alt="" border="0" /></a><span style="font-size:85%;">The $144 Zacuto Z Mount II which basically has the same functionality as the $40 RedRock Micro Mount.</span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://store.zacuto.com/images/P/Zmount1_w_extra.jpg"><img style="cursor: pointer; width: 320px;" src="http://store.zacuto.com/images/P/Zmount1_w_extra.jpg" alt="" border="0" /></a> <span style="font-size:85%;">The $144 orginal Z-Mount which again has the exact same ultility and functionality of the $40 Redrock Micro Mount. Yes, the Zacuto is CNC machined and the levers are red anodized, but I can live with the plain jane Redrock Micro Mount just fine.</span>John Weehttp://www.blogger.com/profile/10956205209097316462noreply@blogger.com3tag:blogger.com,1999:blog-2340744993767473845.post-65403715693610375802008-08-05T21:51:00.005-05:002008-08-12T21:06:28.626-05:00Different Mounting Plate Options for your 2/3" ENG cam.<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://dannynatovich.bizland.com/sitebuildercontent/sitebuilderpictures/engrigcu3.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 320px;" src="http://dannynatovich.bizland.com/sitebuildercontent/sitebuilderpictures/engrigcu3.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://dannynatovich.bizland.com/sitebuildercontent/sitebuilderpictures/engrigcu2.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 320px;" src="http://dannynatovich.bizland.com/sitebuildercontent/sitebuilderpictures/engrigcu2.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://dannynatovich.bizland.com/sitebuildercontent/sitebuilderpictures/engrig8sidelook100k.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 135px; height: 203px;" src="http://dannynatovich.bizland.com/sitebuildercontent/sitebuilderpictures/engrig8sidelook100k.jpg" alt="" border="0" /></a> I just recently discovered the DVTech ENG plate/rail system that claimedto be a universal system being able to fit different 2/3" ENG camera types. The good news is the MSRP is only $275 without the waist pole support and $330 with the waist pole support. You can find more info and/or buy it <a href="http://www.dvtec.tv/id2.html">here.</a><br /><br />I dont know about the waist pole support system and I prefer to install the traditional hand grips instead. It also uses a screwed on rods system. At $275, it is extremely reasonable. If you have experience with this plate system, do kindly share it with us please.<br /><br /><br />Another option is Peter Lisand's LCS plate system starting from $550.00. They also have the waist pole support system available with their plate system. You can find more of their products and user review <a href="http://www.peterlisand.com/">here</a>. I have seen a LCS support on a Hpx3000, and I was not impressed with the build quality and definitely the finishing is not nearly as nice and polished as the Zacuto or Chrosziel.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.peterlisand.com/105-0527_IMG.JPG"><img style="cursor: pointer; width: 320px;" src="http://www.peterlisand.com/105-0527_IMG.JPG" alt="" border="0" /></a> <span style="font-size:85%;">Peter Lisand LCS system. Notice the two short legs that allows you to lay the camera down on a flat surface.</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.bhphotovideo.com/images/largeimages/278993.jpg"><img style="cursor: pointer; width: 320px;" src="http://www.bhphotovideo.com/images/largeimages/278993.jpg" alt="" border="0" /></a><br />The Chrosziel 401-89 Rod System Support for Panasonic 2/3" ENG camera. You can get this camera specific system for $609.95. If you own or have experience with the Chrosziel, please do share it with us.John Weehttp://www.blogger.com/profile/10956205209097316462noreply@blogger.com0tag:blogger.com,1999:blog-2340744993767473845.post-79162837079303476392008-08-04T18:05:00.031-05:002008-12-12T00:31:58.770-06:00Camie's with her new shoe.<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2bsAyjkyfXNlyuOXiCqIpMLE58dx9EmdlbpqQUW0aCJxdTPVnKkiwHMHNfePlS2w7FJ2iQ79IiY5PHtv-auGWoy2LM4nyGr6qiphb3Boxku9x5I1Tm-HKCZ15305uKL2u5h3Tw3PjGN4/s1600-h/Plate_uncovered.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2bsAyjkyfXNlyuOXiCqIpMLE58dx9EmdlbpqQUW0aCJxdTPVnKkiwHMHNfePlS2w7FJ2iQ79IiY5PHtv-auGWoy2LM4nyGr6qiphb3Boxku9x5I1Tm-HKCZ15305uKL2u5h3Tw3PjGN4/s320/Plate_uncovered.jpg" alt="" id="BLOGGER_PHOTO_ID_5230892545906283634" border="0" /></a> <span style="font-size:85%;">The entire system in its modular state.</span><br /><br /> Zacuto Z-LWS(Light Weight Support) is Zacuto rail support solution for 2/3" ENG camera as well as the JVC GY-HD and Canon XH series. It retails for $ 850.00, I know, but this is Zacuto and not Cavision. The Z-LWS is built as solid as their universal base plate system. Everything is made with industrial strenght materials and the finishing is just superbly done. <div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVmiwFQ5r58w7XNc_IKmPe_gQj4G_07yV9y1650mHgdJ5__yX72nXGkYIHhRtYwlP-w2OfRPn_FpFgFvAv0qaWZp39lE7EpORRcGJGvKsCJMr0VKFM62yhhkmheEbmXQfcpN9rx1-sxbE/s1600-h/2base_plates.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVmiwFQ5r58w7XNc_IKmPe_gQj4G_07yV9y1650mHgdJ5__yX72nXGkYIHhRtYwlP-w2OfRPn_FpFgFvAv0qaWZp39lE7EpORRcGJGvKsCJMr0VKFM62yhhkmheEbmXQfcpN9rx1-sxbE/s320/2base_plates.jpg" alt="" id="BLOGGER_PHOTO_ID_5230897351415881410" border="0" /></a><br /><span style="font-size:85%;">Both Plate system side by side. Funny how the Universal Baseplate with a more intricite design only cost $560.00 compared to the more simplistic nature of the Z Universal LWS (Light weight Support) $850.00.</span><br /><br /></div><div>The main plate is a one piece CNC anozided alluminium that is extremely solid and very well built. The package also includes a Double Z-Release Mount that is detachable, so you can mount it either left or right hand side of the camera or take it compeltely off the plate. With a Micromount III, you can mount the Double Z-Release Mount on a normal 15mm rails and use it for other purpose (HD monitor ...etc). The Double Z-Release itself retails for $142.00. I can see mounting a heavy HD monior with a battery with the Double Z-Release Mount and keeping all that mass near the center of gravity of the tripod.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCHxEL5CQ2yY1rTt5lcjSSOPR2cwL9S7PdaaUkIzOiqGbVaysJCc-LAyfJOL8B6AwFJ6pCIqEWMFP4v_fP00wubanuDCiPRvPLWlGCTDCJqvAsKPniK74qK_ak5esxqC9UXcYV9IeXDZg/s1600-h/camie.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCHxEL5CQ2yY1rTt5lcjSSOPR2cwL9S7PdaaUkIzOiqGbVaysJCc-LAyfJOL8B6AwFJ6pCIqEWMFP4v_fP00wubanuDCiPRvPLWlGCTDCJqvAsKPniK74qK_ak5esxqC9UXcYV9IeXDZg/s320/camie.jpg" alt="" id="BLOGGER_PHOTO_ID_5230901102942394578" border="0" /></a><span style="font-size:85%;"><br /></span><span style="font-size:85%;">After all the hard work, finally she has new shoe and a little Follow Focus.</span><br /><span style="font-size:85%;"><br /></span>The rods can also be adjusted vertically to accommodate your Follow Focus or Mattebox to fit into the lens that you use on your camera. They are also adjustable horizontally (say if you have to mate your Folow Focus to your len's gear ring). The Zacuto package also comes with a pair of 8" silver lightweight threaded rods. The entire system with the Double-Z Release Mount weights 22.4 oz.<br /><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbg4__pe4__KSLIYXD303RxQpHrXKHE1mAk364qT3YiDwC3ZziumZeYRKUjPXrdN531Lgh4SP6nIPuSuhfnBvoI9mh3Ja6ptzfFG99D-2FjdnnV-QiwJ8zhdWWQffZHe1MZghbQE9C-X0/s1600-h/naked_plate.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbg4__pe4__KSLIYXD303RxQpHrXKHE1mAk364qT3YiDwC3ZziumZeYRKUjPXrdN531Lgh4SP6nIPuSuhfnBvoI9mh3Ja6ptzfFG99D-2FjdnnV-QiwJ8zhdWWQffZHe1MZghbQE9C-X0/s320/naked_plate.jpg" alt="" id="BLOGGER_PHOTO_ID_5230888885262589266" border="0" /></a><span style="font-size:85%;"><br />Without the double Z-Release Mount: 17.2 oz </span><br /><span style="font-size:85%;"><br /></span> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilplbDm9ZJwbl9oy-H7P-wN45LzaW3ghNGnGB2KohiE5_KykR8Cfv8sSGKcoTV4UQMHQIqgS_JTjwzrA44ziNYC4aaBgWtSRBt9GE5stCcrdSV2lmXNP0jc4K12jG6MOY9NM8pv4D-oG8/s1600-h/zicro+mount_on_double.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilplbDm9ZJwbl9oy-H7P-wN45LzaW3ghNGnGB2KohiE5_KykR8Cfv8sSGKcoTV4UQMHQIqgS_JTjwzrA44ziNYC4aaBgWtSRBt9GE5stCcrdSV2lmXNP0jc4K12jG6MOY9NM8pv4D-oG8/s320/zicro+mount_on_double.jpg" alt="" id="BLOGGER_PHOTO_ID_5230889816628706898" border="0" /></a><span style="font-size:85%;"><br />Using the Z-Release mount with Zicro mount III on a differnt rail.</span><br /><br /></div><div>One unique feature of this plate system is that it is a universal plate; able to fit Sony, JVC, Panasonic or Canon camera. This might as well be the last plate that you would ever need to buy for your 2/3" ENG camera. The kit also comes with 2 different set of screws for the different camera brand. The bottom of the plate has a clear guide to the position of the screws for the different camera brand. The Zacuto screws for the Panasonic is nicer and beefier than the stock Panasonic screws. They are also longer than the Panasonic's OEM screws.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdbUVdewDCN-lngt4FLHkWwVOdvAAKZ3qCffL8kr2-k9mUlQ4rSmhtlnk-hLy0FvSK6jIlNifLlFH32Jcb6FMzRkIa70j97G3-T0e2EmjF0oO-OQm4_7fGmas0x2C8JHH4vjUqeSBVy_s/s1600-h/3_screws.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdbUVdewDCN-lngt4FLHkWwVOdvAAKZ3qCffL8kr2-k9mUlQ4rSmhtlnk-hLy0FvSK6jIlNifLlFH32Jcb6FMzRkIa70j97G3-T0e2EmjF0oO-OQm4_7fGmas0x2C8JHH4vjUqeSBVy_s/s320/3_screws.jpg" alt="" id="BLOGGER_PHOTO_ID_5230890426937275826" border="0" /></a><span style="font-size:85%;"><br /></span><span style="font-size:85%;">OEM panasonic screw (mid) zacuto Panasonic screw (right). </span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkzOlyvPVsHaya3yy-JDS9jSHamGmX570VdNR4COsHwdV3eYvG3RHHy9yv6LQg0jkrA2SUBz6hVBaPYDT9I09GDCDcOwdTeB9_V_oiaqjcV_jD-y65xSipxRh3AxFgSaa2n7GRewA5fPc/s1600-h/Camie's+new+shoes.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkzOlyvPVsHaya3yy-JDS9jSHamGmX570VdNR4COsHwdV3eYvG3RHHy9yv6LQg0jkrA2SUBz6hVBaPYDT9I09GDCDcOwdTeB9_V_oiaqjcV_jD-y65xSipxRh3AxFgSaa2n7GRewA5fPc/s320/Camie's+new+shoes.jpg" alt="" id="BLOGGER_PHOTO_ID_5230900861867249538" border="0" /></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf2GK-raop_j0AZwY4uJes4gCAkhJwST_tLezwP9__h4LQngMN3b-1FU1EqKPWVkmztU0oFX2BR9ZaxtRAw0lfVRB2aiN1Xtfq5slQxUoiEdg6iV8ux2sZFyeqpSJofAPv2y9LjaRwOpA/s1600-h/plate_adjustments.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf2GK-raop_j0AZwY4uJes4gCAkhJwST_tLezwP9__h4LQngMN3b-1FU1EqKPWVkmztU0oFX2BR9ZaxtRAw0lfVRB2aiN1Xtfq5slQxUoiEdg6iV8ux2sZFyeqpSJofAPv2y9LjaRwOpA/s320/plate_adjustments.jpg" alt="" id="BLOGGER_PHOTO_ID_5230890999514032338" border="0" /></a><span style="font-size:85%;"><br /></span><span style="font-size:85%;">Vertical & horizontal adjustment on the rods. Notice that the Double Z- Release Mount is mounted on the right side of the plate.</span><br /><br /></div><div>Overall the installation process is easy but you do have to be astute as the screws are really tiny and the threads are really fine. Just like when removing the original Panasonic plate, you do not want to strip any thread. Overall, the Zacuto universal plate feels solid and firm on top of the Panasonic tripod plate. There are no wobbles, no side to side flex or any screws that got loose. The only other competition to the Zacuto Universal plate is the German made Chrosziel Plate system, retailing around $610.00. The Chrosziel design is very fundamental though, with what looks like a single bolt vertical adjustment on the rods and it doesnt come with any mounting device like the Zacuto Double Z-Release Mount. The Chrosziel is also camera specific and I have heard of complains on the Internet that it was a little bit too thick, as it was designed primarily for the Panasonic Varicam.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtbnnPZTZEhys8tUUQIPYIZs5zbFtKEIDSXFNwInbPjnbL1qx9vAwG9r2xMXoNOdsCNUaY_6R5eIy4_g462qy22f19B9uWcus6yq4O_NcIlP5UZb4g4C4dX2ti7P8-BHYn6RnyepN3uMI/s1600-h/bottom+hpx500.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtbnnPZTZEhys8tUUQIPYIZs5zbFtKEIDSXFNwInbPjnbL1qx9vAwG9r2xMXoNOdsCNUaY_6R5eIy4_g462qy22f19B9uWcus6yq4O_NcIlP5UZb4g4C4dX2ti7P8-BHYn6RnyepN3uMI/s320/bottom+hpx500.jpg" alt="" id="BLOGGER_PHOTO_ID_5230891363948951826" border="0" /></a><br /><span style="font-size:85%;">The naked bottom of the Hpx500 with its OEM plate extracted.</span><br /><span style="font-size:85%;"><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheWMmBtPxNM2QmxqYvK5hDHZeH2x9vOBTgXT4dGw4LhNxooJuiYWN8Qi7YXPu0QAJ-2oYFSmelrXkBA0ppEDWG8uzq1GRohlqsXYOyq99XrIisudPDfwekZPay7cQ0_LxTNz517drKLt8/s1600-h/under_plate_II.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheWMmBtPxNM2QmxqYvK5hDHZeH2x9vOBTgXT4dGw4LhNxooJuiYWN8Qi7YXPu0QAJ-2oYFSmelrXkBA0ppEDWG8uzq1GRohlqsXYOyq99XrIisudPDfwekZPay7cQ0_LxTNz517drKLt8/s320/under_plate_II.jpg" alt="" id="BLOGGER_PHOTO_ID_5230891628196574738" border="0" /></a><br /><span style="font-size:85%;">The different mount for S (Sony), P (Panasonic, J (JVC), C (Canon) and the tripod plate </span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbDkY9rMQY8vXyZjlzW3fkTQfiJbs1Dq__gU38x4pRLg6ajTfU18VRUkKOIHXtwKVRN9xE4lY6RCpJH7sIP9WZRPiWxv4FkxWzoTZ7UPVsq9g5vhbLWD3jsW1mOoyY9e1d1iNmqsUmR-I/s1600-h/front+access.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbDkY9rMQY8vXyZjlzW3fkTQfiJbs1Dq__gU38x4pRLg6ajTfU18VRUkKOIHXtwKVRN9xE4lY6RCpJH7sIP9WZRPiWxv4FkxWzoTZ7UPVsq9g5vhbLWD3jsW1mOoyY9e1d1iNmqsUmR-I/s320/front+access.jpg" alt="" id="BLOGGER_PHOTO_ID_5230892114580181810" border="0" /></a><span style="font-size:85%;"><br />Plenty of room in the front for switch/button access. </span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFSE0n5cfIQADAXKIRq8cXhq8cgHVyaaBFOzsrG-Ogs03Gjza-RB82i6n4lLsPlHmYaoqr8SKXPrEkwTxv6iDDMg-4LGXZD9PI8xA79f3QX-4aIm0uIBMNNC88v_4JJ2pqa1TXEUFA_zA/s1600-h/under_plate.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFSE0n5cfIQADAXKIRq8cXhq8cgHVyaaBFOzsrG-Ogs03Gjza-RB82i6n4lLsPlHmYaoqr8SKXPrEkwTxv6iDDMg-4LGXZD9PI8xA79f3QX-4aIm0uIBMNNC88v_4JJ2pqa1TXEUFA_zA/s320/under_plate.jpg" alt="" id="BLOGGER_PHOTO_ID_5230893601581294802" border="0" /></a><span style="font-size:85%;"><br />The Double Z-Release Mount horizontal adjustment.</span><br /><span style="font-size:85%;"><br /></span>Zacuto expensive? yes, extremely well built? yes, lifetime warranty? yes, universal fit? yes. Lastly, you can be sure that 5 years down the road when you sell this thing on ebay, you will get 90% - 80% of your money back. Anything Zacuto will hold its value for a very very long time and it is an universal solution and not camera specific system.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3HUCZKwX7J8T6iutehSiaU9-fWYchzVXY2IQ6E_l6ktSl9xJbHTSR_qtaWo-d4qMyINsb8AUQekZBpTCV8WttaW0uTYOdMJJw1RSkz52Pam5PPGmmDWKgKc_caUH_Yul_l2nmatztOMI/s1600-h/camie+right+side.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3HUCZKwX7J8T6iutehSiaU9-fWYchzVXY2IQ6E_l6ktSl9xJbHTSR_qtaWo-d4qMyINsb8AUQekZBpTCV8WttaW0uTYOdMJJw1RSkz52Pam5PPGmmDWKgKc_caUH_Yul_l2nmatztOMI/s320/camie+right+side.jpg" alt="" id="BLOGGER_PHOTO_ID_5230900226798018514" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihacGVCdSLj4OAcB-2LPvbUcGBdl_qATl58FC7pBxug74RnjU8WufYfy-KrOd4yGgZuUdrinMcsjcrq06-N_yTMvAFWUvapmD9FcbnMCJNVdCi3ZUGchEFoDzmT39HxPlRum4kGs9GTLU/s1600-h/camie_new_setup.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihacGVCdSLj4OAcB-2LPvbUcGBdl_qATl58FC7pBxug74RnjU8WufYfy-KrOd4yGgZuUdrinMcsjcrq06-N_yTMvAFWUvapmD9FcbnMCJNVdCi3ZUGchEFoDzmT39HxPlRum4kGs9GTLU/s320/camie_new_setup.jpg" alt="" id="BLOGGER_PHOTO_ID_5230900392610787602" border="0" /></a><br /><span style="font-size:85%;">The final setup, like many, Camie is still waiting for her RedRock shade</span>.<br /></div></div>John Weehttp://www.blogger.com/profile/10956205209097316462noreply@blogger.com0tag:blogger.com,1999:blog-2340744993767473845.post-10808539937682983832008-07-31T16:16:00.008-05:002008-12-12T00:31:59.478-06:00Redrock 3 piece Filterset<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvzpf7Aw9KWsEYPK7LKH1ptOr4sLSn1FZJGogXTSy_lc2gNL4ekXi9E8CGd7ix8T8ew1ShE7rWj19Ma1FiSEL_38MwnB9orJs_X7lxItxTr27tXsiKXfwfaGpmHvfZcWs0-AkRA9xHn9M/s1600-h/redrock_filterset.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvzpf7Aw9KWsEYPK7LKH1ptOr4sLSn1FZJGogXTSy_lc2gNL4ekXi9E8CGd7ix8T8ew1ShE7rWj19Ma1FiSEL_38MwnB9orJs_X7lxItxTr27tXsiKXfwfaGpmHvfZcWs0-AkRA9xHn9M/s320/redrock_filterset.jpg" alt="" id="BLOGGER_PHOTO_ID_5229318628402950418" border="0" /></a><span style=";font-family:georgia;font-size:100%;" ><span style="font-size:85%;">Redrock Circular Polarizer, .6 ND and Soft edge horizontal grad (perfect for landscape). All filters come with their own pouches, however I am disappointed that I have to spend more money to get microfiber cloth for the filters. </span><br /><br />Yes, finally an affordable filter set for the starving indie crowd. $495 gets you three piece of 4 x 5.65 glass filter directly from RedRock Micro. You get a Circular polarizer (not the cheap linear ones), a horizontal Graduated .6 Soft edge and a .6 ND. Individually other manufactures are charging anywhere from $250 - $850 per filter in the 4 x 5.65 size.<br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsuSNWoUzXzHIEwtG8SrKWYfkQoQ64M1yN1ZOiSUWFP9bF5D6lUxGKeHap1DAm0wGept9taMV1GTUg6CsGiWgAsscrQuiqK2pD6ysQWAtdKvnJ97E84MJQ8ZWUINigJqGxbZyGPPvP99I/s1600-h/4x4_vs4x5.65.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsuSNWoUzXzHIEwtG8SrKWYfkQoQ64M1yN1ZOiSUWFP9bF5D6lUxGKeHap1DAm0wGept9taMV1GTUg6CsGiWgAsscrQuiqK2pD6ysQWAtdKvnJ97E84MJQ8ZWUINigJqGxbZyGPPvP99I/s320/4x4_vs4x5.65.jpg" alt="" id="BLOGGER_PHOTO_ID_5229318726273830466" border="0" /></a> <span style="font-size:85%;">Tiffen 4 x 4 filter next to Redrock 4 x 5.65 filter.</span><br /><br /><span style=";font-family:georgia;font-size:100%;" >In theory, 4x4 size filters are only really suitable for standard 16mm and non-widescreen electronic cameras. 4x5.65 filters are very suitable for Super 16 or 16x9 HD or other 2/3" cameras. 4x5.65 is also the smallest practical size for 35mm cinematography. The 4x5.65 size is also referred to as "Panavision" size and was originally developed by Panavision as the most compact size that would cover their widescreen anamorphic lenses. 5x6 filters are not very common, and will only fit the ARRI MB-14 and MB-15 Matte Boxes. 6.6x6.6 Is the largest size commonly produced. Choose 6.6x6.6 for 35mm format shooting with graduated filters (grads) and for covering extremely wide angle lenses, or for those lens with very large front element. </span><span style="font-size:100%;"><br /><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGOc1GvekQnXqtlL5fYAYRlE2maX1o7q1MYWbhrEmm5-rN1shtX7IultnIjxzl2rpo2NzqUen3yc0Ykkgcno95rVrxW1THRRsKvC51_6c6RapRBANhwiOJ7tV7pwkngB31a9ZhwFvuLQM/s1600-h/edges.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGOc1GvekQnXqtlL5fYAYRlE2maX1o7q1MYWbhrEmm5-rN1shtX7IultnIjxzl2rpo2NzqUen3yc0Ykkgcno95rVrxW1THRRsKvC51_6c6RapRBANhwiOJ7tV7pwkngB31a9ZhwFvuLQM/s320/edges.jpg" alt="" id="BLOGGER_PHOTO_ID_5229319988415363138" border="0" /></a>The edge finishing on the Redrock filter (upper left), a newer Tiffen filter with its signature green finishing (upper right) and an old Tiffen filter with its smooth side finishing (lower right). Quality wised, the finishing on the Tiffen filters are way smoother and more polished than the Redrock. Only time will tell how durable the glass and the finishing will last and how well it resist cracks and chips being clamped unto the filter trays.<br /><br />According to Redrock, their filters were made from shott glass material. I wonder who made these filters for them ... hmmm. Let see... another big filter compay that uses the same glass is Formatt. And hmmmm... if you click on the first picture you can see Polarizer being spelled as 'Polariser' which is U.K/British English ... and Formatt is a U.K company........ hmmmm. Formatt used to be known of using 3mm glass instead of the standard 4mm glass thickness for their cheaper end filters. Luckily, all the Redrock filters are made of 4mm glass. phew ...<br /><br />Overall the Redrock filter feels hefty indicating they were made from solid good quality glass. my 4x4 Tiffen weights 3.8 oz, my retro 4 x 5.65 weights 4.9 oz and the Redrock weights 4.8 oz. Unfortunately, I do not have a mattebox to actually test the filters. I will do some tests once my Redrock mattebox ships (one advice, don't hold you breath for this one though).<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0F8i0UICyL-L_pjtl8G9oDSm4To9WwADnS8IGhy6CEZqK7YZPb7DsqyLd52eYQvwVcZd9fmlRXgyGXqnlPh2QdJJzrZYEgpPQZJz2_ksUXdCytwt-XdYHKItLlml6NAHdtQaDHNehVcE/s1600-h/pouches.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0F8i0UICyL-L_pjtl8G9oDSm4To9WwADnS8IGhy6CEZqK7YZPb7DsqyLd52eYQvwVcZd9fmlRXgyGXqnlPh2QdJJzrZYEgpPQZJz2_ksUXdCytwt-XdYHKItLlml6NAHdtQaDHNehVcE/s320/pouches.jpg" alt="" id="BLOGGER_PHOTO_ID_5229324640406672562" border="0" /></a><br />I love my old retro Tiffen genuine leather pouches the best. It has this soft almost microfiber like material inside. Both the Redrock and the newer 4x4 Tiffen filter pouches are you standard run of the mill nylon material.<br />The Redrock filters came wrapped in this very thin baking paper material. If you know of any cheap place to get a big microfiber cloth for filters, please shoot me an email or a comment please.<br /><br />If you want the highest quality filter, then you should shop for Schneider but their 4 x 5.65 circular polarizer alone is $415. If you use 35mm still lenses or the stock 1/3" camera lens, you might be able to get away with Schneider's lower end 'century 4 x 4 (5 piece) filterset' for only $ 499.00John Weehttp://www.blogger.com/profile/10956205209097316462noreply@blogger.com0tag:blogger.com,1999:blog-2340744993767473845.post-28284965017365205092008-07-27T17:43:00.013-05:002008-12-12T00:32:00.599-06:00Zacuto Universal Baseplate v3<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2kF0D9wGm0JTRGL0utyihCZnIlL06Ty4oqeyIZMTgBhjZVHUaKtGnYYrOp3MfLzuBXrdl3LFPHxxFXeoewc_GDGTrksMtvofIK3muumJM1sPl4D2xfbGj8hgBHxSnXmeqNM26IHYJPGc/s1600-h/baseplate_on_dv8.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2kF0D9wGm0JTRGL0utyihCZnIlL06Ty4oqeyIZMTgBhjZVHUaKtGnYYrOp3MfLzuBXrdl3LFPHxxFXeoewc_GDGTrksMtvofIK3muumJM1sPl4D2xfbGj8hgBHxSnXmeqNM26IHYJPGc/s320/baseplate_on_dv8.jpg" alt="" id="BLOGGER_PHOTO_ID_5227829552062514914" border="0" /></a> <span class="blsp-spelling-error" id="SPELLING_ERROR_0">Zacuto</span>, a small company out of IL, <span class="blsp-spelling-error" id="SPELLING_ERROR_1">rised</span> to fame in middle - late 2007 with their Universal <span class="blsp-spelling-error" id="SPELLING_ERROR_2">Baseplate</span> + Z-Riser combo, thanks to the introduction of 'flip' 35mm adapters, like the <span class="blsp-spelling-error" id="SPELLING_ERROR_3">Letus</span> Extreme. Before the flippers, everybody in indie land was living happily with their <span class="blsp-spelling-error" id="SPELLING_ERROR_4">redrock</span>, <span class="blsp-spelling-error" id="SPELLING_ERROR_5">cavision</span>, (insert your brand here) <span class="blsp-spelling-error" id="SPELLING_ERROR_6">baseplate</span> system. <span class="blsp-spelling-error" id="SPELLING_ERROR_7">Baseplate</span> and rods are cheap and everybody was happy as a clam.<br /><br />With the <span class="blsp-spelling-error" id="SPELLING_ERROR_9">Letus</span> Extreme, <span class="blsp-spelling-error" id="SPELLING_ERROR_10">suddently</span> everybody have ergonomic issue with their camera setup. Cameras were <span class="blsp-spelling-error" id="SPELLING_ERROR_11">suddently</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_12">levatating</span> 3-4 inches up in the air, 5-6 inches away from the center of the tripod. Many people do not realized COG (Center of Gravity) concept and how it affects the operations of your tripod. E.g. you can hold more weight if you hug the item closer to your body (your COG) and if you extend you arm away from your body (COG), you can hardly support or hold the same weight load.<br /><br />Yet, you see people putting their camera all the way off the COG of their <span class="blsp-spelling-error" id="SPELLING_ERROR_13">Bogen</span> 503 tripod, with long <span class="blsp-spelling-error" id="SPELLING_ERROR_14">noga</span> arm extending left and right supporting their Marshall LCD and their monitor battery. Then they wonder why their footage is not smooth or why their monitor keeps falling off their <span class="blsp-spelling-error" id="SPELLING_ERROR_15">noga</span> arm. If you want to learn more about COG and your tripod, check out <span class="blsp-spelling-error" id="SPELLING_ERROR_16">Vinten's</span> website.<br /><br />Enter the $560 <span class="blsp-spelling-error" id="SPELLING_ERROR_17">Zacuto</span> universal <span class="blsp-spelling-error" id="SPELLING_ERROR_18">baseplate</span> (v3 now). I know, the price, that was the same initial reaction that came out of me. What could the <span class="blsp-spelling-error" id="SPELLING_ERROR_19">Zacuto</span> do that my $160 <span class="blsp-spelling-error" id="SPELLING_ERROR_20">Cavision</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_21">couldnt</span> do, I scoff. Well ... lets see.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii0bfHi-Yz_jlNI6oza9JCVOmNEMnpMqT9MA2Ux2hidTBmVqKK8CyZrVUkUeBkXp7o1UhG4iiBktuVmAr5jWEirKNAXMUq3xJrzzwfwCQrgpcQLyAQ-GLf3d8nWHawEBtqYgTKyiWQrYs/s1600-h/baseplate_side_slide.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii0bfHi-Yz_jlNI6oza9JCVOmNEMnpMqT9MA2Ux2hidTBmVqKK8CyZrVUkUeBkXp7o1UhG4iiBktuVmAr5jWEirKNAXMUq3xJrzzwfwCQrgpcQLyAQ-GLf3d8nWHawEBtqYgTKyiWQrYs/s320/baseplate_side_slide.jpg" alt="" id="BLOGGER_PHOTO_ID_5227836573566767858" border="0" /></a><span style="font-size:85%;">Horizontal adjustments of ~ 2 inches. The long silver plate clamps down and hold the red anodized main plate in place. You tighten down the silver plate with two 4mm allen bolts on the bottom of the baseplate.<br /><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjBWCEFB3oQ5TXAbZAYAH5kEab6H-wHj_ArwxsqVUcnc_uRCGW6HmrVDo9AWCOJ14yE1_M5EyZeX4KpDPjEQq8CIHpglavC1p9_nbQ5raOHPwh6Ro_QFfa0A3NlKXayxXRT4RrpT8KGFs/s1600-h/baseplate_side.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjBWCEFB3oQ5TXAbZAYAH5kEab6H-wHj_ArwxsqVUcnc_uRCGW6HmrVDo9AWCOJ14yE1_M5EyZeX4KpDPjEQq8CIHpglavC1p9_nbQ5raOHPwh6Ro_QFfa0A3NlKXayxXRT4RrpT8KGFs/s320/baseplate_side.jpg" alt="" id="BLOGGER_PHOTO_ID_5227836498585370178" border="0" /></a> <span style="font-size:85%;">Vertical adjustments</span> <span style="font-size:85%;">of about 3/4" of an inch</span>. <span style="font-size:85%;">Also note the threaded female rods, allowing extention with male rods.</span> <span style="font-size:85%;">Every single bolt in the whole system is 4mm</span> <span style="font-size:85%;">in size.</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMlDUzxP0j2bXCEGjJoN9jen_LGjeR7jZbeQunfrwcx0fBcn87yuFDAk3ptxu9PFdgngDm1ZIhP8BL8DaeI1gT_dy-icc3YzzS5siBmRjJyFYZqNgPfYHhGOj737ZsERpo-3pWiOiDDGc/s1600-h/slide_range.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMlDUzxP0j2bXCEGjJoN9jen_LGjeR7jZbeQunfrwcx0fBcn87yuFDAk3ptxu9PFdgngDm1ZIhP8BL8DaeI1gT_dy-icc3YzzS5siBmRjJyFYZqNgPfYHhGOj737ZsERpo-3pWiOiDDGc/s320/slide_range.jpg" alt="" id="BLOGGER_PHOTO_ID_5227837042040123106" border="0" /></a> <span style="font-size:85%;"><span class="blsp-spelling-corrected" id="SPELLING_ERROR_22">Back/Fort</span> adjustments on your tripod plate of ~ 4 half inch so you can balance your front or rear heavy cam.<br /><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivnylYZZOHVt4G34xVrmkhpT0L1OiJ8pUMwCcQzMIxg8TY4msfTphtLeE1ooLC0tIyvRjqO-lG1-Q7cV7QAWIY8Alr_K26hDh8G3V9z3bc984KJ7NzfZ6J_HNnQ07UCoViCLp0k9_q51o/s1600-h/baseplate_underneath.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivnylYZZOHVt4G34xVrmkhpT0L1OiJ8pUMwCcQzMIxg8TY4msfTphtLeE1ooLC0tIyvRjqO-lG1-Q7cV7QAWIY8Alr_K26hDh8G3V9z3bc984KJ7NzfZ6J_HNnQ07UCoViCLp0k9_q51o/s320/baseplate_underneath.jpg" alt="" id="BLOGGER_PHOTO_ID_5227836664595547570" border="0" /></a> <span style="font-size:85%;">The underside of the Zacuto universal baseplate v3. Notice the 4 bolts on the outside of the system. Those are the bolts that you use to clamp down the silver plate in order to secure the red anodized main plate.<br /><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLaoaqJWIy1q2WHFKkOyDbrTJMWUK0NqvoTveA4OHJRthZP2S5MMrx0BQBdORQ048vVWOxjRw56GVQY_p_27aCoF21dyEoqVaaPKds1c9zhl9PXL5tSZ4VGLL0lYvmpBXAcqscxYBENus/s1600-h/autopsy.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLaoaqJWIy1q2WHFKkOyDbrTJMWUK0NqvoTveA4OHJRthZP2S5MMrx0BQBdORQ048vVWOxjRw56GVQY_p_27aCoF21dyEoqVaaPKds1c9zhl9PXL5tSZ4VGLL0lYvmpBXAcqscxYBENus/s320/autopsy.jpg" alt="" id="BLOGGER_PHOTO_ID_5227836360932281138" border="0" /></a> Now here is the best feature of the Zacuto Universal Baseplate system. Every single bolt and element in this design is MODULAR and removable/replaceable. No wonder Zacuto is providing free lifetime warranty to their products. Everything is very very very VERY well designed and executed, there are no wobble, no misfit parts and everything was made to withstand the rigours of life on the set. For god sake, this thing weights 3 1/2 pounds ++ vs 1 1/2 lb on the other rod support system, you can slam the Zacuto universal baseplate hard to the ground and you are probably just going to scratch it. The only downsize of the product is that the allen bolts are not stainless steel, and one of the bolts on my baseplate developed some corrossion and I had to remove the rust.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.dvxuser6.com/uploaded/14472/1198003004.jpg"><img style="cursor: pointer; width: 320px;" src="http://www.dvxuser6.com/uploaded/14472/1198003004.jpg" alt="" border="0" /></a> My old Nightmare. The $160 Cavision rod system is just a toy compared to the Zacuto. The design is extremely flimsy and do not inspire confident at all. I could never get my cam to be rock steady on the tripod with the Cavision. Some bolts ont he Cavision would not aligned with the slots, as a result every single bolt needed to be checked and tighten and forget about that peace of mind that your $15k + camera system might just come falling off.<br /><br />Like I used to say, your camera is outdated annually in April (NAB) but there are certain things that are part of your foundation that will follow you and last forever. Your rod support system and tripod are certaintly on that list. Yes, everything Zacuto is expen$ive, but you are actually paying for something that works incredibly well that you can pass on to your grand children.<br /><br /><span style="font-size:85%;"> </span>John Weehttp://www.blogger.com/profile/10956205209097316462noreply@blogger.com1tag:blogger.com,1999:blog-2340744993767473845.post-61372807253077041122008-07-26T13:48:00.006-05:002008-12-12T00:32:00.893-06:00Installing Ferrite Cores to power cable.Page 86 on Panasonic Hpx500 user manual stated that we need to fit a ferrite core within about 5cm (2 inches) from the DC 4 pin XLR power cable. Problem is, the power cables for my IDX Charger is flat and would not hold the ferrite code tight. As a result, the 2 ferrite cores will move freely along the length of the cables.<br /><br />A simple solution that I found is just to put a zip tie cable on each end to prevent the ferrite core from slipping and moving freely. In case you are wondering, those Ferrite cores are used to limit RF(Radio Frequency) interference. You definitely want the cleanest power possible to your camera as spikes and interference could have adverse effect to the cam. In the Panasonic HVX200's manual, Panasonic even recommended ferrite core to be installed to the firewire cable.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg25GJ-cgAI1fr27obQYvdq8EGtwnVWz50LGmbOePJitgq86cyd_TGSDahihERFG8L9oYMoUbJXeR54gX4bKwrZb8aJgTOUqZLv1L_YRqf4BLI1umx8eZ8m37BgEqXUAkWJDkPpS5Acv-A/s1600-h/ferrite+core.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg25GJ-cgAI1fr27obQYvdq8EGtwnVWz50LGmbOePJitgq86cyd_TGSDahihERFG8L9oYMoUbJXeR54gX4bKwrZb8aJgTOUqZLv1L_YRqf4BLI1umx8eZ8m37BgEqXUAkWJDkPpS5Acv-A/s320/ferrite+core.jpg" alt="" id="BLOGGER_PHOTO_ID_5227398745595335154" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVxeFxxFUWFhMhAH1PHI28l9ZEA2H3U4mtn0MuR1Z4kFPQ4Ilc7BPSq5xWU0hJinIdWKNdnnM1UrslN_i_izyQNg4MeAzOkVJQu7HkTFdtINETP-mPkSS_SlE9H0MnSr4vVe9lAf5PRcg/s1600-h/ferrite+core+2.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVxeFxxFUWFhMhAH1PHI28l9ZEA2H3U4mtn0MuR1Z4kFPQ4Ilc7BPSq5xWU0hJinIdWKNdnnM1UrslN_i_izyQNg4MeAzOkVJQu7HkTFdtINETP-mPkSS_SlE9H0MnSr4vVe9lAf5PRcg/s320/ferrite+core+2.jpg" alt="" id="BLOGGER_PHOTO_ID_5227398846385634786" border="0" /></a>John Weehttp://www.blogger.com/profile/10956205209097316462noreply@blogger.com1tag:blogger.com,1999:blog-2340744993767473845.post-68440482383143297982008-07-26T12:51:00.009-05:002008-12-12T00:32:01.417-06:00Camie's new shoe.<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0wnYDEySgztiOEjdVjX8QtekmGAGrW-sKCx3OTC-OMUsxEuZtii-iqz_BQGuV1fXdRckSEZ5R24nlfjWPJJK4CLqTw9aJou1qcJ2qX-j2KOh6fFY9GUo55nBqZsXy-QAf-SOM6M17aVI/s1600-h/camies_Shoe.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0wnYDEySgztiOEjdVjX8QtekmGAGrW-sKCx3OTC-OMUsxEuZtii-iqz_BQGuV1fXdRckSEZ5R24nlfjWPJJK4CLqTw9aJou1qcJ2qX-j2KOh6fFY9GUo55nBqZsXy-QAf-SOM6M17aVI/s320/camies_Shoe.jpg" alt="" id="BLOGGER_PHOTO_ID_5227384933828157458" border="0" /></a> After spending $14,000 on a camera body, posts like <span style="font-size:130%;"><a href="http://www.dvxuser.com/V6/showthread.php?t=109235&highlight=hpx500+plate+screw">this</a></span> will certainty scare the crap out of anybody. However, in order to fit a FF and mattebox, we new a new baseplate and 15mm rod support system. Based on the horror "tales from the Internet", this procedure is almost as horrific as replacing the battery plate from the stock Anton Bauer to IDX. The last thing that I need, is to pack up a new HPX500, put it on the box, insured it and ship it back to New Jersey and being without Camie (Yes, I name my camera :/ ) for 2 weeks.<br /><br />There are 4 screws on each corner to be removed. After the first try with a normal 'longer' length screw driver, it is obvious that there wasn't enough torque and pressure to move the 'loctite-d" screws. Do not continue or force if this happens, as you will just strip the screws and then off to Jersey your camera with the men in brown. And absolutely no electric screw driver allowed either !<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg8aeqQ53zFmHbynCj2NZ0SvH_0dg55ereGb72MLZGz_RtOYM5g0FnI3QYcjXzEdSGdemcprTH-E4v5vHkXK1IlQl1a2rJrgZ2pFxNtFoJj43VluREc9W17BdiQ7Z_O8r2QFEcww1suAc/s1600-h/screw_driver.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg8aeqQ53zFmHbynCj2NZ0SvH_0dg55ereGb72MLZGz_RtOYM5g0FnI3QYcjXzEdSGdemcprTH-E4v5vHkXK1IlQl1a2rJrgZ2pFxNtFoJj43VluREc9W17BdiQ7Z_O8r2QFEcww1suAc/s320/screw_driver.jpg" alt="" id="BLOGGER_PHOTO_ID_5227385890067313442" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ-BdA4MLb0HO9KS7mpjEBOyaFEPC00VTwxRSmdu-ZWHGlFfxueuguCXA2rTvVu92yM_9ongYDaeHgZIlQeHqKYxp29QfEEejd_TibJmFoS_EpKWKHBFDksWj3n2MpplJe_Y5CUn8AV_M/s1600-h/screw_of_controversy.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ-BdA4MLb0HO9KS7mpjEBOyaFEPC00VTwxRSmdu-ZWHGlFfxueuguCXA2rTvVu92yM_9ongYDaeHgZIlQeHqKYxp29QfEEejd_TibJmFoS_EpKWKHBFDksWj3n2MpplJe_Y5CUn8AV_M/s320/screw_of_controversy.jpg" alt="" id="BLOGGER_PHOTO_ID_5227386149419841762" border="0" /></a><span style="font-size:85%;">The Screw of controversy.</span><br /><br />So, I decided to use a screw driver that has a very short shaft, so that I can put more pressure and torque with every turn. Guess what? all 4 screws came out marvelously with just some firm pressure. I would also advice you to remove the fragile viewfinder when you have your camera upside down to access the plate.<br /><br />Yes, the screws were dipped in blue "temporary" locktite as reported on the internet forum but again with some dilligent, all 4 screws will/should come out perfectly. I do not have my new baseplate yet, but I guess depending on the height/thickness of the baseplate, there might be a need for new longer screws.<br /><br />In conclusion, you can ignore the horror "tales from the Internet", and safetly remove the 4 screws on your camera yourself. There is no magic dealer methods, you dont need Thor to tap on the screws, no special techniques, no special philips screw drivers ....etc. Just some gentle hands (the screw's threads are fine) and common sense will surfice. However, if you are mechanically challenged, just get a 6 pack and get a more mechanically inclined friend to do it for you. With just little effort and patience, it is definitely a DIY job. It is not that big of a deal as portrayed by the others.John Weehttp://www.blogger.com/profile/10956205209097316462noreply@blogger.com2tag:blogger.com,1999:blog-2340744993767473845.post-22012883653665400412008-07-26T11:23:00.012-05:002008-12-12T00:32:02.342-06:00Camie's New Power block<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5YIk6MhNNy6EZj52aomFN7uEcaWQ0fXIZyrWNv-IEEd5te6mchI4-VFVk3C34j29RgANQrx6x-T3Hgh6kFvCrHZ7_x-rgFJ1IiK60HVzKIbMT481xT8ofY2blao5ifTvJWPKuQa6w8oM/s1600-h/hpx500_AB_Batt.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5YIk6MhNNy6EZj52aomFN7uEcaWQ0fXIZyrWNv-IEEd5te6mchI4-VFVk3C34j29RgANQrx6x-T3Hgh6kFvCrHZ7_x-rgFJ1IiK60HVzKIbMT481xT8ofY2blao5ifTvJWPKuQa6w8oM/s320/hpx500_AB_Batt.jpg" alt="" id="BLOGGER_PHOTO_ID_5227360621059642530" border="0" /></a> The Panasonic Hpx500 camera comes standard with Anton Bauer Gold Battery mount. However the battery of choice for the studio is the IDX Sony V mount. Currently we have 2x Endura 10s battery with the IDX VL 2 Plus Charger.<br /><br />We ordered the IDX V-Plate (Part number: P-V2) for the endura battery system (~$106.00). Depending on your camera, they also have the IDX V-Plate S (Part number: P-VS2 with Syncron). Syncron is an automatic light control system that allows an on-board camera light to be switched on and off automatically when the camera record button is pressed. So check with your camera user manual before placing your order for the correct IDX plate. Yes, both plates have a D tap power out (max: 50w)<br /><br />Changing the battery plate from the stock Anton Bauer to IDX is not as easy as I thought. The mechanics of it is easy, there are only 3 small connectors that needed to be swapped. However, what makes the swap a challenge is the space inside the camera. You <span style="font-size:130%;">REALLY <span style="font-size:100%;">have </span></span>to be super delicate in order to work with the super fine tiny wires, tiny connectors in a very very very cramped space. If you have larger hands or not comfortable, I would recommend taking it to the store to have this swap change. There is no sense in breaking and damaging the 3 delicate wires inside your camera that carries the main power to your cam.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPH-5VnzlzwbCdwW4ZLMLJ2_b791l0f6E-U02cBoajn3WWR22NswErWil9jZAnq9wxpJSiNuBV0_IEnejykmgOv3W972hTPNr98uH0TVPCFoGrEliFw4g7zBkRNC9YC02fycoNydshOMM/s1600-h/IMG_17391.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPH-5VnzlzwbCdwW4ZLMLJ2_b791l0f6E-U02cBoajn3WWR22NswErWil9jZAnq9wxpJSiNuBV0_IEnejykmgOv3W972hTPNr98uH0TVPCFoGrEliFw4g7zBkRNC9YC02fycoNydshOMM/s320/IMG_17391.jpg" alt="" id="BLOGGER_PHOTO_ID_5227367999745925666" border="0" /></a> <span style="font-size:78%;">Extremely tiny workspace with delicate cables and connectors. Requires tremendous amount of patience and gentleness.<br />.</span> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNYQSlUfvjeeNuQwvvv5XmNX9_fweyXMn1LsDMrz-fCZkyJkP3GbRXpR256MPvBg0rCo9IqgJ3sJzbzZzXd_b4O2aEscwShJgugvrt6f85r5u0-QNR8-GQff90DJaf6sNV0WdJJI8JN_o/s1600-h/IMG_1740.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNYQSlUfvjeeNuQwvvv5XmNX9_fweyXMn1LsDMrz-fCZkyJkP3GbRXpR256MPvBg0rCo9IqgJ3sJzbzZzXd_b4O2aEscwShJgugvrt6f85r5u0-QNR8-GQff90DJaf6sNV0WdJJI8JN_o/s320/IMG_1740.jpg" alt="" id="BLOGGER_PHOTO_ID_5227368226001426530" border="0" /></a> <span style="font-size:78%;">The inside of an Anton Bauer Plate.</span> <span style="font-size:78%;">Notice the 2 connectors for the Anton Bauer plate. The IDX has 3 connectors.</span><br /><br />There are two types of connectors or cable in a battery plate system, the big main one that carries the juice and another cable that carries information to your camera. IDX calls it their Digi-View system, and they both type 1 (shows batt capacity in 10% step) and type 2( 1% steps).<br /><br />If you dont feel like operating on your camera or paying someone else to fit the IDX V-plate, you can also purchase a AB to IDX adapter plate, but due to the AB design, you will lose the Digi-View, Syncron and (I think*) the D-Tap power as well.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4P8V5K5znmx9mM6KsUkFODenGZOdW5QMe98EYRs-oFSPtgGMFWYi5Zx4ESc9SL4PgR0Rh3yCXepQuK_pVNbUHJTXCRt3QutFLsDptkyA5wGprXnuBD-44F6A-IIKjyFu4lSHo6ErFXuQ/s1600-h/IMG_1741.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4P8V5K5znmx9mM6KsUkFODenGZOdW5QMe98EYRs-oFSPtgGMFWYi5Zx4ESc9SL4PgR0Rh3yCXepQuK_pVNbUHJTXCRt3QutFLsDptkyA5wGprXnuBD-44F6A-IIKjyFu4lSHo6ErFXuQ/s320/IMG_1741.jpg" alt="" id="BLOGGER_PHOTO_ID_5227377176314932050" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxcZZOOa1kfBv1H6MaWcYvndErI26v0wpp0Dxnzw6BTC1G1zLdsm_jTB60MoAVyQPTHp47YBYHSRvEr3MuNhJ-ebeFp1jg2IN_-UIamCE5L5px-hzuStticCKUiCWYIYHiSSkdSjMHiyw/s1600-h/IMG_1742.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxcZZOOa1kfBv1H6MaWcYvndErI26v0wpp0Dxnzw6BTC1G1zLdsm_jTB60MoAVyQPTHp47YBYHSRvEr3MuNhJ-ebeFp1jg2IN_-UIamCE5L5px-hzuStticCKUiCWYIYHiSSkdSjMHiyw/s320/IMG_1742.jpg" alt="" id="BLOGGER_PHOTO_ID_5227377380970859234" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5YIk6MhNNy6EZj52aomFN7uEcaWQ0fXIZyrWNv-IEEd5te6mchI4-VFVk3C34j29RgANQrx6x-T3Hgh6kFvCrHZ7_x-rgFJ1IiK60HVzKIbMT481xT8ofY2blao5ifTvJWPKuQa6w8oM/s1600-h/hpx500_AB_Batt.jpg"><br /></a>John Weehttp://www.blogger.com/profile/10956205209097316462noreply@blogger.com1