Outfitting your H(d)SLR
Table of Contents Fall 2009
Introduction and Welcome TheCameras
p.3
The H(d)SLR Video Feature Matrix p. 4
Stabilizers
p. 6-16
Tripods and Monopods Handhelds Body-Mounted Extras to Enhance Stabilization
Lighting
p. 17-20
On-camera
Article: How Hard Can It Really Be?
p. 21
H(d)SLR Related Blog Articles InteractiveListing InteractiveProduct Listing p. 23 In theNext Issue p. 24
Outfitting Your H(D)SLR is a Quarterly Publication from the editors of: http://hdhd.wordpress.com and www.hdslr-n-motion.com Š 2009 all rights reserved For information on advertising or listing your products
Please contact us at: Info@theimagician.com
p. 22
Welcometo Outfitting your H(d)SLR Fall 2009
Ever since the arrival of the Nikon D90 and the Canon 5D Mark II in 2008, the H(D)SLR juggernaut keeps going. As of this writing, there are seven DSLR models from Canon, Nikon, and Pentax that are motion capable: Make that ten if you count the recently announced, Canon 1D Mark IV, Nikon D3s and Pentax K-x. Expect this number to climb steadily as new camera models are introduced with evolved motion capabilities and enhanced performance and controls. As these motion capable cameras get into the hands of more and more image makers, both professional and enthusiast, the interest and demand by consumers for equipment to facilitate realizing the full potential of the motion capability of their cameras grows exponentially. Whether you are concerned about lighting, sound, stabilizing, or editing, there are growing number of products out there to assist you in your efforts. The purpose of this publication is to help you understanding what’s available and what you might need or want to consider to allow you to produce high quality motion work along with your stills. For this edition, we are focusing on the basics: stabilizing your camera and on-camera lighting options. Between our quarterly publication dates, we will bring you news and stories in our blog that we think will be of interest and value to you, so book mark us! The address: www.Hdslrs-n-motion.com and visit our companion site: http://hdhd.wordpress.com Byron Atkinson, Editor
H(d)SLR Video FeatureMatrix Brand/Model
Sensor
Full manual exposure control
Auto-focus in video mode
HD record
Ext. mic
User select frame rates
yes
yes
no (30fps)
yes
yes
yes
Y es
yes
yes
yes
Canon 5D MarkII MSRP: $2699
21.1 mp Full Frame
Canon 7D MSRP: $1699
18.0 mp aps-c 1.6x
Canon Rebel T1i MSRP: $899
15.1 mp aps-c 1.6x
yes
no
no*
no
yes
Nikon D300s MSRP: $1799
12.3 mp aps-c 1.5x
yes
yes
no (24fps)
no
yes
Nikon D90 MSRP: $899
12.3 mp aps-c 1.5x
yes
no
no (24 fps)
no
no**
Nikon D5000 MSRP: $729
12.3 mp aps-c 1.5x
yes
no
no (24 fps)
no
no**
Pentax K7 MSRP: $1299
14.6 mp aps-c 1.5x
yes
yes
no (30 fps
no
no**
Pentax K-x*** MSRP: tba
12.4 mp aps-c 1.5x
yes
-
no (24 fps)
-
-
* Resolution choice drives frame rate:
** Auto-focus must be done prior to recording
*** Camera has been announced: Limited info available
The manufacturers of the H(d)SLRs currently on the market have taken different approaches to their video solutions and offer different resolution options and levels of control in each of their offerings. While some cameras are capable of auto focusing while recording, focus speed may vary by method and may you may experience exposure changes and /or out of focus moments during recording. Additionally, if you are using the built-in microphone, both auto focus drive and lens stability adjustment noise may adversely impact the sound quality of your recording. The MSRP/ESP above are estimates and/or recommended prices at the time of release and are therefore subject to change. Check with dealers and retailers for current prices, which may vary from those above. The prices above do not include any special offers that may be available.
Two of the most important things you can do, whichever brand and model of H(d)SLR you choose are to: • read the manual, and • visit the manufacturers’ site as there are often tips and tutorials available to bring you up the learning curve. If you know how to operate your camera, it’s one less thing you have to be preoccupied with as you add stabilizers and/or other accessories. You also should check the schedules of your local retailers because they often have workshops and seminars available which can be helpful. While it is technically not a DSLR, we have included the Panasonic GH1 here among the links.
Introduction
Stabilizers
Shooting stills and video are very different processes. With stills you are capturing a moment in a split second. It is relatively easy for most people in good outdoor light to be able to hold, steady and focus their cameras with lenses from 10mm to 300 mm depending on the lens weight for the fraction of a second long enough to capture a sharp still image. But hand-holding and operating a camera to capture a still at 1/125 or 1/250 of a second is very different from operating a camera to capture 45 seconds or a minute of movement. During the period you are recording, you have to be concerned with holding the camera, focusing it, starting and stopping the recording, and possibly about moving the camera to follow the action . In a nut shell, you are going to need help.
Stabilizers: What they are and why you need them
Basically, a stabilizer is a device which allows you to steady your camera in order to optimize the resulting images. Stabilization can be achieved through contact with a solid object or by distributing the weight of the camera over multiple points of contact. By steadying the camera, you get level, sharp, well-focused images and you eliminate motion blur or camera shake which can result from camera and lens weight, and/or longer exposure times. A very basic example of a stabilizer is a camera placed on a flat surface like a table. The most widely recognized Photographic stabilizers are tripods and monopods. The same principles and benefits for using tripods and monopods for still images apply to shooting motion with a couple of caveats which we will get into in the next section.
The Basic Options: Tripods and Monopods As stabilizers, tripods have a lot to offer still and motion shooters. Because of the width of the leg spread, the fact that they have three points of contact with solid ground and they are usually used on level surfaces, tripods are excellent stabilizers. They come in various materials and prices so that there is a tripod available for every budget. There are a few things you should keep in mind in looking at tripods. First, pay attention to the weight capacity of the tripod. You need to take into account the weight of your camera body and the heaviest lens you own/or are likely to be using, as well as the head. In picking out a tripod, you want to consider its physical weight, the number of leg sections (3 versus 4), leg-locking method, and its height.
Tripodsand Monopods TIP: If your handheld footage shows an unacceptable degree of wobble, or seems to shake like Jell-O, a stabilizer will help.
A Dollypod from Davis and Sandford with a FM18 fluid head distributed by Tiffen
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TIP: working with stabilizers, even tripods and monopods, while shooting video, may not be as easy at it looks. If you are working with a fluid head, practice your tilt and panning movements.
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Manfrotto mini video head and 745XB Tripod distributed by Bogen Imaging
TIP: If at all possible, take your camera and lens with you when you are buying a tripod to make sure it feels right and works for you. If you are buying on-line, and have not had the opportunity to see it or try it in person, make sure the store has an adequate return policy if the item turns out not to work for you.
TIP: Using a wireless remote like the Canon RC-1 to start and start video recording eliminates the need to touch the camera, reducing the potential for camera shake.
TIP: If you intend to use your tripod on the public streets, make sure you know what the local regulations are as it relates to tripod use.
Manfrotto 682B self-standing monopod distributed by Bogen Imaging Flowpod is a multi configurable stabilizer by VariZoom
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A long base fluid head versus a ball head Both from Gitzo distributed by Bogen Imaging
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Just as it is with light stands, a three-section tripod is generally longer in the collapsed position than a four-section tripod of similar height. Your tripod also should be tall enough that with the camera mounted to the head, it is close to eye level. Another basic option to aid in stability when shooting stills and motion is a monopod. Whereas the tripod offers tremendous stability because of its three-leg platform, stability with a monopod relies on one point of contact with the ground and the photographerâ&#x20AC;&#x2122;s hand and sometimes hand and shoulder for stability. You can achieve an additional degree of stability by bracing yourself against a fixed support such as a wall or column in conjunction with monopod use. There are a few companies that offer monopods with detachable feet which offer additional stability, but should not be used in place of a proper tripod as they are not as stable. One of the most important aspects of using a tripod or monopod is the head. Now this is where the earlier mentioned caveat comes in with respect to still and video use. For stills, ball heads are commonly used because they can be locked or clicked into position easily, and in many cases moved between portrait and landscape orientation. With motion, however, the ability to shoot in portrait orientation is not a consideration. You need the ability to move the head (pan and tilt) smoothly to follow the action. Whether you are using a tripod or a monopod, the head of choice for motion work is a fluid head.
Beyond the Basic: Handheld and Body-Mounted Stabilizers Tripods and monopods are great if you are shooting with limited movement, but if your shooting requires a fair amount of movement, you may need to look at other options. Many professional video shooters particularly those whose work involves action, use stabilizers which depend on multiple points of body contact to achieve stabilization. These stabilizers often involve the hands, and one or more of the following: shoulder contact, eye-face contact, abdominal support, neck and/or legs. Others may employ a combination of body contact and gravity through counterweights. In theory, the more points of body contact, the more stable the rig and mounted camera should be. The choice of handheld and body-mounted stabilizers should be driven, by personal preference, utility and budget. Handheld and bodystabilized rigs can run from less than $100 to several thousand dollars.
Some of the handheld and body-mounted stabilizers are built on rod systems or platforms. These stabilizers are often At the heart of the “modular” as they can accommodate “MicroshoulderMount” by Redrock Micro is its rod system. add-ons and/or be reconfigured for different functionality. While there are stabilizing products on the market which pre-date the arrival of H(d)SLRs which may function perfectly fine, we have elected to focus primarily on products developed or adapted for use with motion capable DSLRs. The Handheld Options: One Hand or Two
When we speak of handheld stabilizer, we are talking about those that strictly have one or two handgrips for support. The handhelds are generally the most compact stabilizers available. Compactness and simplicity do not necessarily translate into the most economic option. Some general word of caution about stabilizers for video capture: While there are numerous products on the market, many are intended for use with light weight minicamcorders and/or those with flip-out monitors. Make sure the product that you are considering can support the weight of your camera and lens, and allows you access to the LCD monitor and camera controls. Handhelds with double grips may offer more stability because the “load” is being shared. There are many who may, however, prefer one hand stabilizers. Two of the benefits of the single-hand stabilizers are: • One hand is always free to control and adjust the camera; and • They are small, as well as easy to carry and/or transport. There are usually two points of contact even with a singe grip stabilizer; as long as you also have a hand on the camera, it counts as a point of contact. How do you decide whether a one-hand or two-hand solution is best for you? You have to determine if your arm is up to the task of carrying most of the load alone: If not, a two-hand solution is the better option. You also may want to consider the lenses you are likely to use. Supporting a camera with a 50 mm f1.8 lens with one hand is very different from supporting a camera with a 70-200 f2.8 lens attached. If you are going to be using heavier and/or longer lenses, the single grip stabilizer may not be the best choice.
Handheld Stabilizers TIP: The closer to your body you keep a handheld, the greater the stability.
the stabilizer. Placing the camera on the stabilizer is only part of the equation. If you do not learn how to adjust the rise and fall of your stride, your results may be less than desirable.
The Action Grip for H(d)SLRs from Kirk Enterprises can accommodate a microphone or light on the grip handle
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TIP: Practice moving with
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The Manfrotto Fig Rig distributed by Bogen Imaging can be easily accessorized.
SINGLE HANDGRIP VIEWFINDER PACKAGE FOR H(d)LSRs / 5D MII from Cavision
TIP: Some stabilizing products may not be available for you to try out or inspect at a retailer before purchasing. Some of these items may be â&#x20AC;&#x153;special orders.â&#x20AC;? Make sure you understand the return and cancellation policies of the entity you are purchasing from if the item turns out not to work for you.
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TIP: Many of the manufacturers of The UltraPort from Redrock Micro is a two grip rig which minimizes rotation while you shoot and which can be readily customized.
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handheld and body stabilizers have demo videos on their websites as to how specific products work. Take a look at these resources.
The U-Boat Commander (Kit 2 ) by iDC Photography is a video capture camera rig shown with optional accessories to enhance The HD capture experience
Body-Mounted Stabilizers
Body stabilizers, are those that use points of contact on the upper body in addition to the hands for support. Common points of contact include the shoulders, chest or bracing a support against the abdominals, as well as facial contact. The body stabilizers can range from very simple “pistol grip”/gunstock rigs, to more elaborate rigs built around rod systems with provisions for optional accessories. As mentioned earlier, the more points of body contact, the greater the stability as the weight of your gear is being distributed over a greater area. A rig with two handgrips and a shoulder pad or brace, is likely to offer greater stability than a single hand or double handed grip. If you need to remove your hand from a grip to focus your lens, your other hand and your shoulder are still supporting your camera. This stability is particularly important if you are using longer or heavier lenses and/or plan on adding accessories like microphones, lights and monitors to enhance your H(d)SLR shooting experience. One of the most important considerations in choosing a stabilizer is comfort. You need to remember that you are going to be “wearing” this rig. A gunstock type brace, for example, has a very different feel from a “molded” over the shoulder brace. A neck strap may feel fine to one shooter, but be problematic to someone else. There is no right or wrong, the choice is highly personal. Another consideration, and this is especially true if you are not shooting with or planning to add a monitor, is being able to easily view your LCD. One of the advantages that some of the newer DSLR specific body-mounted stabilizers have is that the camera placement on the platform has been optimized, because they were manufactured with a DSLR with non-articulating LCD in mind. Another very important consideration no matter which stabilizer solution you are considering is how quickly you can mount and dismount your camera from the rig. There may be times where you want to go from having your camera on a stabilizer to holding the camera in your hands or vice-versa. Many of the handhelds and body-mounts come with or can be fitted with the same kind of quick release plates that tripod and monopod heads utilize. If you are using multiple stabilizers, you may want to use the same type of mounting/release plates if possible. Some stabilizers can be mounted to tripods, offering additional flexibility.
Body-Mounted Stabilizers The Tactical Shooter from Zacuto weighs only 1lb 8 oz but has three points of contact by having a one hand on the handgrip, the gunstock in your chest and your focusing hand presses up against the rod.
TIP: Practice moving with the body mounted stabilizer. placing the camera on the stabilizer is only part of the equation. If you do not learn how to adjust the rise and fall of your stride, your results may be less than desirable.
TIP: As with the handhelds, practice moving with the body mounted stabilizer.
TIP: Some stabilizers may require assembly. Make sure there are instructions and that the manufacturer will offer phone or on-line support should you need it.
The 320D double handle shoulder mount rig with trigger from Bush Hawk can be used for still shooting or video
TIP: A growing number of stabilizers can be customized. If you think that you may want to add functionality or accessories at some point in the future, take a serious look at products which offer these options.
eyeSpy Shoulder-mount Rig from Redrock Micro shown with counterbalance weight.
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Standard Shoulder Pad package for FOR H(d)LSRs / 5D MII from Cavision comes with two handles and an LCD viewfinder.
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The Zero Gravity Rig from VariZoom works with H(d)LSRs or larger professional video cameras.
The U-Boat Commander Kit 3 by iDC Photography has an over the shoulder stabilizing arm, the rig shown is outfitted with an optional follow focus and LCD viewfinder accessory HD capture.
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The DSLR-Pro from Switronix is a shoulder mount rig developed for H(d)LSR use.
Extras to Enhance Stabilization There are several items that you can consider to further improve or enhance stabilization and/or your motion recording experience. Some of these items can be purchased individually or purchased with or as add-ons and used in conjunction with many of the stabilizers available.
Focus Related Extras One of the great challenges in shooting motion with an H(d)SLR is focusing. As discussed in the camera section of the guide, using auto focus while capturing motion has some challenges. Manual focus under many circumstances is the better way to go. In fact, lots of people do not realize that much of what we look at on the blue screen and the silver screen is shot using manual focus. The issue with manual focusing your H(d)SLR while shooting is that you have to adjust the focus ring by handling it and doing so may work against your overall stabilization efforts. One of the tools which professional camera people rely on to manually focus their cameras is a device known as a focusfollow. This is a geared device which is attached to the camera/camera lens, usually via a rod system, which allows for precise adjustment of the focus ring. Some of the handheld and body mounted stabilizers have rod assemblies which can accommodate follow focus. Rod assemblies and focus follow can be purchased for use on tripods. Additionally, some of the handheld and bodymounted stabilizers that utilize rods and focus-follow, can be mounted on a tripod. Medium format lens focusing handles may serve as focus levers on some H(d)SLR lenses. The Lynn Handle “A” below fits perfectly around the focus ring of the Canon 24105L zoom and the handle can be used while shooting to fine tune manual focus.
wheel follow focus from Cavision for use with a rod system and gear rings.
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The “Captain Stublin” two hand grip stabilizer from Redrock Micro with a follow-focus attached via rods and gears around the lens.
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< A basic mini single
^ The Follow-Focus from IDC Photography is attached directly to the camera via a plate as opposed to using the typical rod system. Shown here is the â&#x20AC;&#x153;Run & Gunâ&#x20AC;? kit which includes the follow-focus and LCD viewfinder.
Viewing Related Extras In capturing motion with an H(d)SLR, you must rely on the LCD on the back of the camera for composing, focusing and monitoring your action. While the resolution and size of camera LCDs has improved tremendously over the last few years, some may still find the small screens a challenge. A LCD viewfinder may be of value in that it can reduce or eliminate extraneous light from hitting the screen, facilitate on-screen magnification, critical focus, and provide a shooter with an additional point of body contact with the camera which further enhances stability.
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The HoodLoupe 3.0, HoodEYE 3.0 and Cinema Strap from Hoodman offer an elegantly simple and affordable solution to transforming your LCD into a LCD Viewfinder.
The LCD Viewfinder set from Cavision shown here is for use with the Canon5D MarkII equipped with the battery grip .
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The Z-Finder from Zacuto attaches to the camera LCD. Among its benefits are focusable magnification and a field of view matched to the LCD screen .
There are plenty of items that you can add to your H(d)SLR, but you may want to start slowly. Remember, the more accessories you add, the larger and heavier your rig can become, and the greater the number of items you have to manage. While the rig is a major component of the stability equation, stabilization ultimately dependents on your ability to hold/wear the rig and move with it. While your choice of stabilizers and accessories is heavily influenced by personal preference, it also may be determined by use. There are professional film production companies and independent film makers that are buying and using H(d)SLRs specifically for their motion capabilities: Their needs and choices for stabilizing and accessorizing these cameras is specialized and is very different than those of the typical consumer or photographers using the cameras for other applications. The average user of H(d)SLRs, at least for now, is primarily attracted to these cameras for their ability to shoot stills, so you may find yourself balancing a different set of priorities, which may influence or dictate your need for a specific stabilizer or multiple stabilizer solutions, as well as accessories.
The DSLR Cinema Bundle from Redrock Micro (^ above left) and the Zacuto DSLR Precision Shooter (^above right) are rigs which are seriously outfitted for professional use. Both rigs are shown with optional equipment/accessories.
Introduction
Lighting
Mention lighting in the context of shooting stills with a DSLR, and most people will immediately respond “flash" – built-in or flash gun. Mention lighting in the context of shooting motion with a DSLR and you will get a variety of answers from, “I don’t worry about it because I’m shooting outdoors in good light,” to “I can’ t use my flash” to “I use continuous lighting.” If you responded “continuous lighting,” give yourself a big pat on the back. Videographers routinely use small continuous lights atop their cameras as well as larger continuous lighting units off camera to light subjects and sets. Some of these same lighting units can be used with H(d)SLRs for both motion and still capture. For some people considering H(d)SLRs, lighting is cited as a major stumbling block to shooting motion. None of the camera companies offering H(d)SLRs have addressed the need for supplemental, continuous lighting in conjunction with their use for motion capture, so as of now you really have to look to companies that specialize in these products to understand the options. In this addition of “Outfitting your H(d)SLR,” we are focusing on hot shoe portable lighting options. Hot shoe ready continuous lighting products are very capable of filling in shadow, adding catch-lights to the eyes, and lighting close up subjects when shooting video as well as stills. They can also be used off camera and do not require remote controls to operate. An added benefit of continuous lighting is “What you see is what you get” (WYSIWYG.) You see where your shadows fall and how much light is falling on your subject before you hit the record button or shoot a still. Buy the right unit and it will take up a very small amount of space in your camera bag,
Navigating the Options
While WYSIWYG is a real strength where use of continuous lighting is concerned, figuring out “what to get” can be a daunting task for many. As far as supplemental lighting is concerned, to most photographers, "flash is flash;” the guide numbers and feature set may differ, but the dedicated units and the third party flash units have more in common than not. With continuous lighting there are LEDs, tungsten, and halogens among others. While the focus here is on lights which can be powered by standard alkaline, rechargeable, and lithium batteries or with camcorder batteries directly mounted, there are units that have power taps or other types of connectors which require external battery packs. There are also units which are AC only. Another potential issue for those looking at video light options is that sometimes the photometric - the distance and power output information is described in luxes and foot-candles. These units of measurement are unfamiliar to many photographers accustom to using flash and may prove confusing.
The most attractive of the lights available as a portable on-camera lighting are LEDs. They are frugal in term of energy consumption, can be powered by multiple means, and are available in different power configurations. LEDs are flicker free, produce a bright light, and there is minimum color shift with those that dim. They also are “cool” lights in that heat generation is negligible, which makes them a perfect accessory and continuous lighting solution to include in your camera bag. A few things to remember, without going all technical with photometric data: • • • •
• • •
The on-camera continuous lighting solutions we are talking about here are generally going to be less powerful than on-camera flash. The further away your subject is from your light source, the larger your shooting aperture will need to be to compensate. On-camera continuous lights with dimmers give you greater control than those without as you can dial up or dial down power as needed. For lighting that provides distance, foot-candle and lux data, as the distance increases the footcandle and lux numbers will generally decrease, and a larger aperture will be required for a proper exposure. If you don’t like what you see, adjust the light before you start recording or shooting your stills. Don’t be afraid to experiment and move the light off camera. Carry extra batteries.
On-Camera Lighting TIP: “Video” lights with “power taps” will not work with your H(d)SLR. Lights with XLR or cigarette lighter connectors require an external battery pack.
TIP: Products with dimmers give you greater control and options.
TIP: if you are planning on keeping a continuous light source in your camera bag, make sure that it generates minimal heat.
TIP: Filters can often be used to change the color temperature of a continuous light. Some products have integrated filter holders and come with filters. .
Litepanels Micro
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and Micro
Pro
are versatile and portable LED options for the H(d)SLR shooter. Both models are fully dimmable and can be run off alkaline or lithium batteries, or powered by an optional ac adapter which is shown
TIP: A bracket can be used to raise Your on-camera light higher
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A bracket like this one from LAcolorshop.com, mounts atop the camera hot shoe and serves to raise an on-camera light and/ot to provide extra mounting points for a microphone or monitor.
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Comer’s CM-LBPS1800 is low consumption 10-LED on-camera light. It has built-in barn doors and filters to provide maximum flexibility . The light is powered by a Sony compatible camcorder battery.
TIP: your on窶田amera light can be
used off camera. It can be secured on a light stand or a hand-held extension pole (if you have an assistant,) by means of an umbrella bracket with a hot shoe.
TIP: If a camcorder video
light or combination video light/flash unit requires an advance accessory shoe, it is not compatible with your H(d)SLR as it cannot draw needed power from your camera battery.
^ The TorchLED TL-50 from Switronix operates for up to 3 hours on its internal, rechargeable lithium polymer battery. The TL-50 is dimmable. Two more powerful TorchLED offerings from the company require an external battery.
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The Microbeam 256 LED light, from FloLight comes with 5 filters. The light runs off camcorder batteries fitted to the rear panel and are available for Canon, JVC, Panasonic and Sony batteries. In addition to being dimmable, the microbeams can be stacked.
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Although marketed for use atop of the XH G1/XH A1 video cameras, the Canon VL-10Li II Video Light is a small, light weight , 10 watt, continuous light option which will fit in a Canon H(d)SLR hot shoe. it can be powered by either a Canon BP-950G or 970G Lithium-Ion battery.
How Hard Can it be? A FewThoughts on Motion Clips and Shooting Movies I was recently talking to someone who was outlining his plan to put together a blockbuster, well an Internet blockbuster movie using his new H(d)SLR. Although he had never shot a “byte” of video, his voice was filled with excitement, as he talked about zooming and panning, and a gazillion people looking at it on YouTube, and then going on to direct a Hollywood feature. I must have had that look on my face because he posed the following question “How hard can it be?” My answer was, “that depends on what you are trying to accomplish.” If you are looking to record a few clips to share with your friends on Facebook, it might be easy. But if you are trying to put together something more involved, like putting together a theme driven project, or a project that requires actors, lighting, and/or with a story, it can be challenging. If you are trying to do all of this alone, make that extremely challenging. You see it’s all about hats. That’s right hats, and how many you choose to, can or have to wear: Produced, director, writer, DP, camera-person, casting director, grip, gaffer, editor, scorer, set designer and location scout. I just realized I forgot make-up artist and wardrobe. That’s 14 hats! Try getting that many hats of different shapes and sizes on your head at one time. The more involved the project, the clearer your vision needs to be. I’m not suggesting that one person can’t manage all the components, but rather you need to know what making a movie entails before you get in too deep. If you don’t have the intestinal fortitude to wear or time and/or interest in wearing all the hats, you may want to surround yourself with people who have the requisite skills. Personally if I am working alone, the minute the camera gets mounted on the rig, and the record button is activated, I am first and foremost a camera-person-not a director, not a writer, and not a producer. And if anyone thinks that I am minimizing the role of the cameraperson, I am not because if the scenes are not shot properly, no amount of editing can mask that. In fact, there may not be adequate usable footage if the clips/scenes are not shot right to even “make a movie.” How hard can it be? When you’re editing and realize that you need to cut a piece of this scene which you loved, and a piece of that scene that you also loved for the sake of the story or flow, you realize that it can be “very hard.” This is when you learn that objectivity is your ally. In the year that I have been shooting with H(d)SLRs, I have come to appreciate how involved making movies, even the shortest ones, can be. I have come to respect the various disciplines and expertise it takes to move a project from a thought to reality. While it is a lot of work, whether you are working alone or with other people, it can also be tremendously fulfilling and fun. To an extent, selecting the camera and the accessories is actually the easy part. The process thereafter, that is the hard part and the fun part as well. Now go out and get in motion! Byron
Our H(d)SLR Oriented Blog Entry Index Click on the title and the blog entry will open in a new window: LED Lights for Still and Video Capture They Shoot Stills and Videos: Part 1 They Shoot Stills and Video Part 2: Mounting it (BushHawk 320D and the Fig Rig) They Shoot Stills and Video Part 3: Mounting it (the U-Boat Commander) Photographing on the Streets of NYC (Permitting Process for Shooting on Streets on NYC) When Mediums Converge: Stills to Motionâ&#x20AC;Ś(The Convergence of Stills and Motion Capture) The Under $100 Question: AC lighting for Stills and Motion? The $42 Answer Lighting for Stills and Motion: A Cool Experience for Under $500 H(d)SLRs in Motion goes to Photo Plus Expo 2009
InteractiveProduct Listing If you want more information on some of the products used for illustrative purposes in this publication, click on the hyperlink text near the image, and visit the manufacturers or retailers site in a new window.
Bogen Imaging tripods, monopods, filters, stabilizers, bags, lighting
Tiffen tripods, monopods, filters, stabilizers, Brackets, bags, lighting
Varizoon stabilizers,, lighting, tripods, monitors
Litepanels LED lighting
Kirk
IDC Photograohy
tripods, plates, brackets, heads, clamps
,stabilizers,, light modifiers, focus aids
Switronix Stabilizers, lighting
Redrock Micro stabilizers, focus aids, filters, support systems
Cavision Stabilizers, focus aids, Matte boxes, viewfinder aids
Zacuto stabilizers, focus aids, viewfinder aids,
BushHawk Products Stabilizers, plates
Canon VL-10 Video light
Comer LED lights ,
Hood man,
Flolight LED lights ,
Viewfinder aids, media cards, LCD and monitor accessories
In The Next Issue The H(d)SLR Round-up
Off-Camera Lighting Solutions •Location •Studio
The Ins and Outs of Sound
Motion and White Balance
It hitsyour screen on January 18, 2010