Friday, December 24, 2010
Tuesday, December 21, 2010
2nd Edition of Beyond Stills, e-Book for HDSLR Users, Now Available
For more information or to buy Beyond Stills, click here .
A free copy of second edition of Beyond Stills is available to all those who have proof of purchased the first edition. If you purchased the first edition of the book from this site, your download instructions will be sent to you directly. If you purchased the book from the iBook Store, please contact me at Info@theimagician.com.
Be sure to check out the available Premium Content on the Beyond Stills site.
Tuesday, November 16, 2010
2010 Holiday Ideas To Take Your Imaging Beyond Stills
Recently, I've gotten numerous e-mails from people asking about accessorizing their HDSLR for motion capture. So I decided to put together a little "guide" of holiday gift ideas that includes some of my favorite "affordable" HDSLR accessories and gear: With the exception of the cameras, most items listed are below $200. I actually own and use every piece of equipment listed. Additionally all the equipment is available at B&H.
If you want to see the gear upfront and personal and you have any question about this gear, gear in general or HDSLR motion capture, join me on Thursday December 2 from 11to 1 in the B&H Event Space. For more information or to register for the event click here.
The revised and expanded 2nd Edition of Beyond Stills: HDSLR Motion Capture for the Non-filmaker will be available shortly. The Second Edition has been revised and expanded to include a more general discission of camera settings and controls regardless of brand, as well a sections which cover the menus and movie controls for the latest Canon and Nikon releases. Much of the information and the links to product Websites that was formerly included in the seperate Interactive Resource Guide have been incorporated in the second edition. A notice will be posted here when the book is available. In the meantime, please enjoy idea guide! To view the guide, click on the publication embedded below.
If you want to see the gear upfront and personal and you have any question about this gear, gear in general or HDSLR motion capture, join me on Thursday December 2 from 11to 1 in the B&H Event Space. For more information or to register for the event click here.
The revised and expanded 2nd Edition of Beyond Stills: HDSLR Motion Capture for the Non-filmaker will be available shortly. The Second Edition has been revised and expanded to include a more general discission of camera settings and controls regardless of brand, as well a sections which cover the menus and movie controls for the latest Canon and Nikon releases. Much of the information and the links to product Websites that was formerly included in the seperate Interactive Resource Guide have been incorporated in the second edition. A notice will be posted here when the book is available. In the meantime, please enjoy idea guide! To view the guide, click on the publication embedded below.
Wednesday, November 10, 2010
The Recoil: A Sub-$100 Shoulder-mount Stabilizer from Ikan
Image Courtesy of Ikan
There is a lot to like about the Recoil, a shoulder mounted stabilizer from Ikan: It is light; portable; offers three points of body contact; and best of all, is attractively priced at just under $100. The Recoil is made of a resin composite which accounts for its light weight and durability. The Recoil consists of a padded shoulder hook-arm/adjustable chest pad assembly, a long base plate, a short riser base plate, and a grip. According to Ikan, when using just the long base plate, the Recoil can support a load of up to ten pounds. The beauty of the recoil is that the base plates and grip offer a degree of customization for users. By way of example, I have mounted the short riser in the reverse of what is shown in the Ikan instruction guide in order to shorten the distance between my eye and the LCD display. The Recoil also can be used in conjunction with Ikan’s Element Fly series of stabilizers offering the ability to accommodate additional accessories that Ikan offers such as lights, monitors, and their Friction Focus.
Photographer Ron Herard puts my Recoil through the paces with a Canon 60D onboard (above and below.)
The thing I really appreciate most about the Recoil is the fact that the adjustable chest pad allows one to achieve a tight fit whether you are wearing a tee shirt or a sweater or an over coat. No matter what apparel I have had on, the Recoil fits snuggly and provides enough stability that I have had no problems adjusting my camera with minimal to no discernable shake. I do want to add that the chest pad may not be universally appreciated by all users: Some people will like it and others will not. From my perspective, it is the combination of the shoulder hook and chest brace assembly coupled with your hand placement, either on the camera or on the handle, that make this stabilizer so effective. As snugly as the Recoil may be adjusted to fit you, it is not intended to be used hands-free.
The one concern I do have about the Recoil is the durability of the foam used for the shoulder and chest pad. It is very dense, but a substantial amount of the chest pad is outside of the support plate. After thinking about this concern, I’ve decided to cross that bridge if and when it happens.
The Recoil has a MSRP of $99.99. In addition to the items previously mentioned, the Recoil comes with a storage/carrying pouch and an additional piece of foam for use between the base plate and some camera models.
For more information on the Recoil, visit http://www.ikancorp.com/
Disclosure: No consideration has been received in connection with this blog entry, nor has any manufacturer and/or retailer offered any consideration. All images which appear in this enty and blog are copyrighted and the property of their respective owners.
This article is protected by Copyright and may not be reproduced in part or as a whole in any electronic or printed medium without prior permission from the author.
Tuesday, October 26, 2010
Nikon d7000 Focus Tracking
Nothing scientific, just a quick test to see how the D7000 autofocus tracking works. My test was impromptu, and hardly perfect. So with the 18-105 kit lens on board, I asked my buddy Jason Strong to walk in a zigzag pattern and let the camera do its thing.
d7000 focus tracking from byron atkinson on Vimeo.
Sunday, October 24, 2010
Thursday, September 9, 2010
HDSLR Camera Video Capture: Simple Manual Focus-Assist Solutions
As we are seeing, HDSLRs are indeed evolving with the inclusion continuous AF in video mode being offered as a feature in several recently announced models. While this addresses an often cited drawback to using HDSLRs, there are still users who may prefer to manually adjust and fine tune focus and/or circumstances under which manual focus is the most appropriate option. As many of you know, most of what we see in the movies and on television is shot using manual focus and with follow-focus devices. Think of a follow-focus as an intermediary between you and the lens, which allows precise movement of the lens to achieve focus without your hand physically having to touch the lens barrel. And as many who have been shooting video with HDSLRs can attest, the less you have to touch the camera and/or lens while shooting video, the less likely you will experience shaky footage.
Although they are available at several price points, many follow-focus devices need specialized equipment such as rails to be mounted to the camera, which can add expense and to the amount of equipment you have to carry. There are some models available that are self-contained units and do not require rails for additional support, but these units also tend to run a couple of hundred dollars.
For the person looking for a less expensive and space efficient focus-assist solution, you may want to look at the focus handles intended for use with medium format manual focus lenses. They can often be found in the “Used Department” of camera stores. They are generally priced between $6 and $30. These handles were made to fit around the focus ring of camera lenses and allowed the photographer to adjust the focus by moving the handle without touching the lens barrel. Guess what? Some of these work beautifully on some HDSLR lens focus rings. I find that the plastic models, such as the Lynn Handles “A” and “B”, are pliable enough to fit the focus ring of my lenses, and can be secured with the supplied screw or by twist-tie if necessary (the Canon 50 1.2L, 24-105L, and 70-200 2.8 IS are the three lenses I have used these handles on).
If you want functionality similar to that offered by the medium format focus handle, with greater certainty of fit for a wide variety of lenses, Cinevate, the Canadian-based manufacturer of camera and video accessories offers the Durus Focus Lever which can be
paired with various sized focus gear rings to offers a custom fit solution for each of your lenses. The MSRP for the Duras Focus Lever and the Durus Gear Rings are $69 and $37- $42, respectively. For more information on Cinevate products click here.
Redrock Micro offers the Nano Focus +Zoom Lever which when paired with their micro Lens Gears offers a degree of focus control.
The Redrock Micro Nano Focus+Zoom Lever and micro Lens Gear B mounted to a Nikon 35mm F1.8 Lens.
For more information on Redrock Micro products click here.
I do not want to imply that the focus handle/lever is a replacement for the traditional follow-focus. The precision offered by follow-focus gear adjustments is unmatched by the handle/lever solution. The handle solution does however offer a significant advantage over direct adjustment of the focus ring by hand. With a gentle touch, patience, and practice, you may find focus handles/levers of value in your relentless pursuit of motion!
As always, I remind you to check out the e-Book Beyond Stills as well as the Interactive Resource Guide embedded below:
Disclosure: No consideration has been received in connection with this blog entry, nor has any manufacturer and/or retailer offered any consideration. All images which appear in this enty and blog are copyrighted and the property of their respective owners.
This article is protected by Copyright and may not be reproduced in part or as a whole in any electronic or printed medium without prior permission from the author.
Although they are available at several price points, many follow-focus devices need specialized equipment such as rails to be mounted to the camera, which can add expense and to the amount of equipment you have to carry. There are some models available that are self-contained units and do not require rails for additional support, but these units also tend to run a couple of hundred dollars.
For the person looking for a less expensive and space efficient focus-assist solution, you may want to look at the focus handles intended for use with medium format manual focus lenses. They can often be found in the “Used Department” of camera stores. They are generally priced between $6 and $30. These handles were made to fit around the focus ring of camera lenses and allowed the photographer to adjust the focus by moving the handle without touching the lens barrel. Guess what? Some of these work beautifully on some HDSLR lens focus rings. I find that the plastic models, such as the Lynn Handles “A” and “B”, are pliable enough to fit the focus ring of my lenses, and can be secured with the supplied screw or by twist-tie if necessary (the Canon 50 1.2L, 24-105L, and 70-200 2.8 IS are the three lenses I have used these handles on).
If you want functionality similar to that offered by the medium format focus handle, with greater certainty of fit for a wide variety of lenses, Cinevate, the Canadian-based manufacturer of camera and video accessories offers the Durus Focus Lever which can be
paired with various sized focus gear rings to offers a custom fit solution for each of your lenses. The MSRP for the Duras Focus Lever and the Durus Gear Rings are $69 and $37- $42, respectively. For more information on Cinevate products click here.
Redrock Micro offers the Nano Focus +Zoom Lever which when paired with their micro Lens Gears offers a degree of focus control.
For more information on Redrock Micro products click here.
I do not want to imply that the focus handle/lever is a replacement for the traditional follow-focus. The precision offered by follow-focus gear adjustments is unmatched by the handle/lever solution. The handle solution does however offer a significant advantage over direct adjustment of the focus ring by hand. With a gentle touch, patience, and practice, you may find focus handles/levers of value in your relentless pursuit of motion!
As always, I remind you to check out the e-Book Beyond Stills as well as the Interactive Resource Guide embedded below:
Disclosure: No consideration has been received in connection with this blog entry, nor has any manufacturer and/or retailer offered any consideration. All images which appear in this enty and blog are copyrighted and the property of their respective owners.
This article is protected by Copyright and may not be reproduced in part or as a whole in any electronic or printed medium without prior permission from the author.
Tuesday, August 17, 2010
Beyond Stills: the Interactive Resource Guide for HDSLR users
The Beyond Stills Interactive Reource Guide for HDSLR users is now available for viewing by clicking on the embedded publication below. The Guide which is the companion publication to the e-Book Beyond Stills: HDSLR Motion Capture for the Non-filmmaker, contains information on various products and accessories which can assist with and enhance motion capture with HDSLRs and other interchangable lens cameras. There are links to manufacturer's Websites where you can get additional information on the products they offer.
For more information on the Beyond Stills e-Book and to preview the book, click here.
Enjoy the Guide and spread the word!
For more information on the Beyond Stills e-Book and to preview the book, click here.
Enjoy the Guide and spread the word!
Tuesday, August 3, 2010
Reflections on HDSLRs and Imaging
Over the first seven months of 2010, some of the most interesting imaging products and product announcements have come from segments of the imaging market other than the HDSLR/DSLR segment. Other than the Canon 5D MarkII Firmware update/upgrade, there has been silence on the HDSLR front so far this year. This will undoubtedly change over the next few weeks, as many camera manufacturers will be unveiling their latest products since August typically signals the start of their new product announcement season. Additionally, some manufacturers may have been holding back and timing announcements to be made closer to the start of September’s biennial Photokina imaging exposition in Cologne.
The growth in the number and popularity of small interchangeable lens mirror-less cameras like those offered by Panasonic, and Olympus, followed by Samsung, and Sony has been surprising to some. It is a testament to the fact that DLSR-sized sensor and image quality need not be packaged in a larger body, and confirmation that there is an element of the camera-shooting public that is attracted to smaller options. The recent revelations by Nikon and Canon that they too are working on small-body interchangeable lens cameras, (and in Nikon’s case “with enhanced video performance”), should come as no great surprise to anyone. In 2009, Leica demonstrated with its M9, that a full frame, 35 mm size sensor need not be housed in a bulky and/or heavy package, and imaging manufacturer Ricoh pushed the envelope with a modular interchangeable lens/sensor unit with its GXR camera.
Between the growth in smaller form-factor still/video enabled cameras with: RAW capability; continuous auto focus during video capture; enhanced/articulating LCD screens; the growing number of optics becoming available (including the announcement by Panasonic of the development of a 3-d ยต4/3 lens,) coupled with the announcement of dedicated interchangeable lens movie cameras from Panasonic and Sony with DSLR-sized sensors, some have opined that the run of the HDSLR as a movie making/motion capture tool may be coming to an end. The question is “Will the HDSLR become the technological equivalent of the two-minute man?”
HDLRs appeal to many different audiences. The wide selection of lenses and camera bodies at various price points and the resulting capabilities underscore their versatility. While the small interchangeable lens camera segment grows in number and popularity, the number of lenses available for them at this time, pales in comparison to the range of lenses available for HDSLRs/DSLRs. As is often the case, sometimes the needs of one audience for a particular product overshadow the needs of others. The focus on filmmakers’ use of HDSLRs and contests for filmmaking often seems to garner more attention than use for and/or by other types of users: The wedding photographer who uses it to capture some motion memories; the photojournalist in the field; the parent shooting stills that sees an opportunity to catch a moment where the kids are running; or the person who is shooting stills and sees a moment to capture something they want to share with their friends on Facebook. For filmmakers, HDSLRs are allowing access to high definition motion capture and creativity with DOF and framing given the lens options at extremely attractive prices. For the person aspiring to make films, they offer an inexpensive entry into the arena. For many aspirants, an $800 offering like the Rebel T2i will be a more attractive proposition than a dedicated $2,000 or $6,000 movie camera with a DSLR-sized sensor despite the HDSLR’s perceived shortcomings. I’ll be the first to admit that HDSLRs do not have many of the creature comforts offered by the average consumer camcorder, but then what camcorder up to this point has offered the creativity and flexibility associated with interchangeable lenses and full resolution RAW still capture? Some of the critics of the auto focus capabilities and clip limits of most HDSLRs fail to mention that for most movie makers or television productions, projects are shot using manual focus; and movies are filmed in scenes or clips, rather than extended continuous action.
The focus on filmmaking has also implied that HDSLRs need to be outfitted with expensive accessories to be functional. Critics of the HDSLR as a filmmaking tool rarely mention that filmmakers have been outfitting dedicated movie cameras with all kinds of accessories to improve operation long before the arrival of the first HDSLRs. Movie cameras have routinely been mounted to video tripods with fluid heads, and on stabilizers like the Steadicam® Merlin™ and the Glidecam to achieve the best results. There are and have been numerous products available to enhance consumer camcorder performance as well. The use of matte boxes, external monitors, follow-focus, rails, dollies, and gliders all pre-date the Nikon D90 and Canon 5D MarkII, as have the need for external microphones and other sophisticated equipment for motion capture sound recording. These facts are easily overlooked as HDSLRs seem to have spawned a “unique and robust” accessory market.
I am constantly amazed at the number of people who tell me they have not explored the video capability of their camera because they don’t have or want to buy the numerous accessories to make them functional: or that they don’t want to spend a king’s ransom for editing software. They are unaware that a tripod, a monopod, a flat surface or even just a camera strap pulled taut against the neck, is all they need to get started capturing motion or that there are very capable editing software options that are attractively priced or—best of all—free.
There is no doubt that we live in a multi-media age. For the person shooting stills and prefers the DSLR form factor, whether they earn a living at it or just do it for enjoyment, HDSLRs offer an opportunity to mix things up in a single package. And none of the cameras/packages available to date or those that have been announced are 100 percent perfect for every use. I maintain that the most capable camera is the one that is in your hand or bag. Each of us is responsible for understanding its strengths and weaknesses and putting it to use to our best advantage.
There is no doubt in my mind that the HDSLR will be around for quite a while. As they continue to evolve, it will be important for the manufacturers to incorporate the amenities that the larger consumer groups desire, rather than just those desired by filmmakers. Some of the features we will see in the near term include:
• The availability of continuous auto focus during video capture.
• Faster AF during video capture
• The ability to capture still image and video simultaneously without interruption
• Articulating LCD screens
• Better sound dampened dedicated auto focus lenses
What I have come to realize is that imaging is at a crossroad. The crossroad is not the convergence of still and motion because we have been there for a while even though some people have refused to acknowledge it, but the crossroad of cameras shedding their analogue lineage and truly becoming electronic devices. Thanks to live-view, sharper displays and now video, DSLR shooters are embracing and relying on the LCD screen display (as most point & shoot and cell phone-camera users have) more and more. HDSLRs have also helped to redefine the concept of what a “professional” camera is, as some amazing projects have been shot with cameras that are classified as “consumer/pro-sumer cameras” in many still photography circles. There is a certain irony to hearing someone boast that “I use the same camera and lenses to shoot video of my kids in the backyard, as they used to shoot the last episode of House.”
The growth in the number and popularity of small interchangeable lens mirror-less cameras like those offered by Panasonic, and Olympus, followed by Samsung, and Sony has been surprising to some. It is a testament to the fact that DLSR-sized sensor and image quality need not be packaged in a larger body, and confirmation that there is an element of the camera-shooting public that is attracted to smaller options. The recent revelations by Nikon and Canon that they too are working on small-body interchangeable lens cameras, (and in Nikon’s case “with enhanced video performance”), should come as no great surprise to anyone. In 2009, Leica demonstrated with its M9, that a full frame, 35 mm size sensor need not be housed in a bulky and/or heavy package, and imaging manufacturer Ricoh pushed the envelope with a modular interchangeable lens/sensor unit with its GXR camera.
Between the growth in smaller form-factor still/video enabled cameras with: RAW capability; continuous auto focus during video capture; enhanced/articulating LCD screens; the growing number of optics becoming available (including the announcement by Panasonic of the development of a 3-d ยต4/3 lens,) coupled with the announcement of dedicated interchangeable lens movie cameras from Panasonic and Sony with DSLR-sized sensors, some have opined that the run of the HDSLR as a movie making/motion capture tool may be coming to an end. The question is “Will the HDSLR become the technological equivalent of the two-minute man?”
HDLRs appeal to many different audiences. The wide selection of lenses and camera bodies at various price points and the resulting capabilities underscore their versatility. While the small interchangeable lens camera segment grows in number and popularity, the number of lenses available for them at this time, pales in comparison to the range of lenses available for HDSLRs/DSLRs. As is often the case, sometimes the needs of one audience for a particular product overshadow the needs of others. The focus on filmmakers’ use of HDSLRs and contests for filmmaking often seems to garner more attention than use for and/or by other types of users: The wedding photographer who uses it to capture some motion memories; the photojournalist in the field; the parent shooting stills that sees an opportunity to catch a moment where the kids are running; or the person who is shooting stills and sees a moment to capture something they want to share with their friends on Facebook. For filmmakers, HDSLRs are allowing access to high definition motion capture and creativity with DOF and framing given the lens options at extremely attractive prices. For the person aspiring to make films, they offer an inexpensive entry into the arena. For many aspirants, an $800 offering like the Rebel T2i will be a more attractive proposition than a dedicated $2,000 or $6,000 movie camera with a DSLR-sized sensor despite the HDSLR’s perceived shortcomings. I’ll be the first to admit that HDSLRs do not have many of the creature comforts offered by the average consumer camcorder, but then what camcorder up to this point has offered the creativity and flexibility associated with interchangeable lenses and full resolution RAW still capture? Some of the critics of the auto focus capabilities and clip limits of most HDSLRs fail to mention that for most movie makers or television productions, projects are shot using manual focus; and movies are filmed in scenes or clips, rather than extended continuous action.
The focus on filmmaking has also implied that HDSLRs need to be outfitted with expensive accessories to be functional. Critics of the HDSLR as a filmmaking tool rarely mention that filmmakers have been outfitting dedicated movie cameras with all kinds of accessories to improve operation long before the arrival of the first HDSLRs. Movie cameras have routinely been mounted to video tripods with fluid heads, and on stabilizers like the Steadicam® Merlin™ and the Glidecam to achieve the best results. There are and have been numerous products available to enhance consumer camcorder performance as well. The use of matte boxes, external monitors, follow-focus, rails, dollies, and gliders all pre-date the Nikon D90 and Canon 5D MarkII, as have the need for external microphones and other sophisticated equipment for motion capture sound recording. These facts are easily overlooked as HDSLRs seem to have spawned a “unique and robust” accessory market.
I am constantly amazed at the number of people who tell me they have not explored the video capability of their camera because they don’t have or want to buy the numerous accessories to make them functional: or that they don’t want to spend a king’s ransom for editing software. They are unaware that a tripod, a monopod, a flat surface or even just a camera strap pulled taut against the neck, is all they need to get started capturing motion or that there are very capable editing software options that are attractively priced or—best of all—free.
There is no doubt that we live in a multi-media age. For the person shooting stills and prefers the DSLR form factor, whether they earn a living at it or just do it for enjoyment, HDSLRs offer an opportunity to mix things up in a single package. And none of the cameras/packages available to date or those that have been announced are 100 percent perfect for every use. I maintain that the most capable camera is the one that is in your hand or bag. Each of us is responsible for understanding its strengths and weaknesses and putting it to use to our best advantage.
There is no doubt in my mind that the HDSLR will be around for quite a while. As they continue to evolve, it will be important for the manufacturers to incorporate the amenities that the larger consumer groups desire, rather than just those desired by filmmakers. Some of the features we will see in the near term include:
• The availability of continuous auto focus during video capture.
• Faster AF during video capture
• The ability to capture still image and video simultaneously without interruption
• Articulating LCD screens
• Better sound dampened dedicated auto focus lenses
What I have come to realize is that imaging is at a crossroad. The crossroad is not the convergence of still and motion because we have been there for a while even though some people have refused to acknowledge it, but the crossroad of cameras shedding their analogue lineage and truly becoming electronic devices. Thanks to live-view, sharper displays and now video, DSLR shooters are embracing and relying on the LCD screen display (as most point & shoot and cell phone-camera users have) more and more. HDSLRs have also helped to redefine the concept of what a “professional” camera is, as some amazing projects have been shot with cameras that are classified as “consumer/pro-sumer cameras” in many still photography circles. There is a certain irony to hearing someone boast that “I use the same camera and lenses to shoot video of my kids in the backyard, as they used to shoot the last episode of House.”
Monday, July 12, 2010
Shooting Stills and Motion in NYC
The Basic Rules
The rules for shooting video are the same as shooting stills. You do not need a permit if you are shooting with handheld equipment. Tripods and monopods qualify as “handheld,” and, of course, if you are using stabilizers (like a Stedicam® Merlin™), or shoulder mounted rigs and others that depend points of body contact, you are fine. Put anything else other than a tripod or monopod on the sidewalk or street including, but not limited to a dolly on your tripod, an apple box, props, light stands, inverters, batteries, generators, or if you are using vehicles or impacting the flow of traffic, you will need a permit. If the scene you are shooting involves actors/models depicting uniformed public safety personnel, or involves prop firearms and weapons, you will also need a permit and NYPD presence is required. The definition of “handheld” covers photographic and video equipment like lighting and reflectors as well. A strobe mounted to a light stand placed on the ground requires a permit; the same strobe on an extension arm and carried by an assistant qualifies as handheld, and does not require a permit.
Made in NY Gets a Little More Expensive for Some
If your shoot — whether stills or motion— requires a permit, you must have insurance, the City of New York must be named as an additionally insured and the certificate must contain the language specified on the MOFTB site. As of July 11, 2010, the processing fee for initial applications for permits goes from no cost to $300. The fee, which is an application processing fee and not a location fee, is being implemented to offset budget cuts. It must be paid in the form of a certified check or money order, and must accompany the permit application. Whether you are “CSI NY” and filming 18 plus episodes, or a photographer shooting a single editorial piece using two light stands, the initial or new permit application process will cost you $300. Student projects are not exempt from the permit process or application fee. It should be noted that MOFTB does have the ability to waive the permit processing fee if you can demonstrate economic hardship as outlined in the regulations.
The Middle Ground between a Permit and No Permit: The Optional Permit
While you can certainly shoot “handheld” without a permit, there are times when you might want some documentation that acknowledges your right to shoot at the location you have selected. MOFTB offers an “optional permit.” Why? Because every building owner, apartment dweller, homeowner and security guard is not aware of the rules as it relates to filming or photographing on public property in front or near their property. What the optional permit does is give you a piece of paper that acknowledges your right to be there. This acknowledgement can quell a potential altercation. Even if you are doing everything handheld, if your shoot involves a number of people or is extraordinary in any way, it might be wise to get the optional permit. There is no fee or insurance requirement for an optional.
Visit MOFTB
To read all the rules and regulations in their entirety, I strongly urge you to visit the MOFTB Website. You can also download the various forms and instructions from the Website. If you have any questions or concerns you should contact them. I have dealt with the MOFTB staff there on numerous occasions and they are courteous, knowledgeable and extremely helpful.
The MOFTB site will also point you in the appropriate direction for information on shooting in the various parks and other City properties which are administered by different departments or entities.
Whether you are operating with a permit, an optional permit or shooting without one, MOFTB indicates that you are expected to comply with the request of law enforcement officers.
A Comment on Permits for Our Readers Shooting Outside of NYC
I always suggest to people that they not confuse the right to photograph and videotape with the right to use all kinds of equipment on the streets. If you are planning a shoot which involves placing any type of equipment on public property, you should check with the locality to determine what is allowed. There is nothing worst than having your shoot shut down because of a lack of due diligence.
Monday, June 14, 2010
HDSLR Cameras: Products to Watch For
Periodically we will bring products to your attention that are new and noteworthy.
HDSLR Stabilization: Hoodman Style!
Hoodman, the California-based company that brought us the HoodLoupe 3.0®, the HoodLoupe 3x magnifier and the HoodCrane, has just introduced the DSLR WristShot®. The DSLR WristShot (pictured below,) essentially works by transferring the weight of the camera and lens to the forearm, thereby reducing
Disclosure: No consideration has been received in connection with this blog entry, nor has any manufacturer and/or retailer offered any consideration. All images which appear in this enty and blog are copyrighted and the property of their respective owners.
New e-Pub - Coming Soon
Okay, call this a shameless piece of self-promotion, but my e-book Beyond Stills: HDSLR Motion Capture for the Non-filmmaker (You Know More Than You Think You Know) and the companion Beyond Stills—Interactive Resource Guide will both be available later this month. Availability and additional information will be posted soon on the e-Pub page on this site.
What's in our Sister blogs:
HDHD: Frezzi: An Integrated Approach to HDSLR Lighting and Stabilization
Byron Says: Story Telling
HDSLR Stabilization: Hoodman Style!
Hoodman, the California-based company that brought us the HoodLoupe 3.0®, the HoodLoupe 3x magnifier and the HoodCrane, has just introduced the DSLR WristShot®. The DSLR WristShot (pictured below,) essentially works by transferring the weight of the camera and lens to the forearm, thereby reducing
Image courtesy of Hoodman
the potential for wrist strain and fatigue. It is similar to their existing product for camcorders, but has been adapted for HDSLR use. The DSLR WristShot can support up to 10 pounds, and ergonomically makes the most sense, when used with HDSLRs, mounted on the right arm. When coupled with the Hood loupe and HoodCrane assembly, the DSLR WristShot offers users multiple points of contact for stabilization. The DSLR WristShot is available now at a suggested MSRP of $149.99. For more information visit: http://www.hoodmanusa.com/.Disclosure: No consideration has been received in connection with this blog entry, nor has any manufacturer and/or retailer offered any consideration. All images which appear in this enty and blog are copyrighted and the property of their respective owners.
New e-Pub - Coming Soon
Okay, call this a shameless piece of self-promotion, but my e-book Beyond Stills: HDSLR Motion Capture for the Non-filmmaker (You Know More Than You Think You Know) and the companion Beyond Stills—Interactive Resource Guide will both be available later this month. Availability and additional information will be posted soon on the e-Pub page on this site.
Cover shot provided by Byron Atkinson
What's in our Sister blogs:
HDHD: Frezzi: An Integrated Approach to HDSLR Lighting and Stabilization
Byron Says: Story Telling
Tuesday, May 11, 2010
On LEDs and LEDZ
To read more click here.
Wednesday, April 28, 2010
Beyond Stills: Getting in Motion with HDSLR Cameras Workshop at Calumet NYC
On Thursday May 13 and Friday May 14, I am running a two-day workshop is intended for the “non-filmmaker,” and is set up to provide an intensive introduction to shooting motion with a Canon HDSLR. This first workshop is being put on in concert with Calumet Photographic’s New York City Store, at 22 West 22nd Street (212-989-8500.)
The program is divided into two parts:
Part 1 will cover all the shooting fundamentals with a focus on understanding the camera set-up and equipment/accessories which can enhance the motion capture experience. Areas that will be explored include the following:
– Camera controls and settings
– Batteries and memory cards Stabilization and stabilization options
– Sound
– On-camera Lighting
– Essential equipment for motion capture
– Software alternatives and basic editing considerations
– Common shooting courtesy
Part 2 is intended to put you, the camera, the stabilizer and the other essentials together with a story or theme and provide an opportunity to apply what you’ve learned in the workshop. Areas that will be covered include:
– The importance of a story or theme
– Framing, composition, and movement
– Interior and exterior lighting (made easy)
– What you need to know about shooting stills and motion on the streets of NYC
– Editing considerations
Additionally, workshop participants will have an opportunity to develop a story and shoot their story with actor/models included in the workshop’s $299 cost.
(The Canon 5D MarkII and 7D cameras will be used for demonstration purposes and attendees are encouraged to bring their cameras and memory cards and other accessories if they so choose. We will supply the model, lighting, as well as some stabilization alternatives for use.)
Handouts covering both days will be provided for you to keep.
For More information about the course and to sign up, click here.
For information about the June and July dates additional workshops contact info@theimagician.com.
Regards,
Byron
As always feel free to look through the pages of "Outfitting Your HDSLR"
The program is divided into two parts:
Part 1 will cover all the shooting fundamentals with a focus on understanding the camera set-up and equipment/accessories which can enhance the motion capture experience. Areas that will be explored include the following:
– Camera controls and settings
– Batteries and memory cards Stabilization and stabilization options
– Sound
– On-camera Lighting
– Essential equipment for motion capture
– Software alternatives and basic editing considerations
– Common shooting courtesy
Part 2 is intended to put you, the camera, the stabilizer and the other essentials together with a story or theme and provide an opportunity to apply what you’ve learned in the workshop. Areas that will be covered include:
– The importance of a story or theme
– Framing, composition, and movement
– Interior and exterior lighting (made easy)
– What you need to know about shooting stills and motion on the streets of NYC
– Editing considerations
Additionally, workshop participants will have an opportunity to develop a story and shoot their story with actor/models included in the workshop’s $299 cost.
(The Canon 5D MarkII and 7D cameras will be used for demonstration purposes and attendees are encouraged to bring their cameras and memory cards and other accessories if they so choose. We will supply the model, lighting, as well as some stabilization alternatives for use.)
Handouts covering both days will be provided for you to keep.
For More information about the course and to sign up, click here.
For information about the June and July dates additional workshops contact info@theimagician.com.
Regards,
Byron
As always feel free to look through the pages of "Outfitting Your HDSLR"
Wednesday, March 17, 2010
HDSLR Camera Accessories: White Balance Aids and Remote Controller Options
White Balance: The Foundation of Color Accuracy and Creative Editing
A white balancing reference aid can be an invaluable tool to take along with your HDSLR for use before and during motion capture. The reasons to custom or manually white balance your HDSLR video footage are the same as for doing it for still work: It allows you to make the decisions with respect to your color accuracy rather than relying on the camera to do so, and enables you to maintain greater control and consistency throughout your shoot. Setting a custom or manual white balance can reduce the need for some color corrections during the editing process. Additionally, accurate color capture is an excellent departure point for creative grading. While white balance is often spoken of in terms of color accuracy, it is as much about a pleasing appearance and /or the look you choose to create. If you are just beginning to shoot video and are editing with software that has limited color correction options, setting a manual or custom white balance may become even more important.
There are two ways to achieve in-camera custom/manual white balance: The incident or reflective methods. The incident method of white balancing involves placing a neutral "filter" over the camera lens and shooting a reference frame from the position of your subject, to measure the light and color of light hitting the subject. Popular aids using the incident method include Expo Imaging’s Expodisc and the Brno BaLens cap. The reflective method involves shooting a neutral gray or white card, and capturing and measuring the color of the light reflected by the card from the subject position back to the camera sensor for the reference frame. Products such as WhiBal, Vortex Media’s White Balancing Reference System, and a host of other 18% grey or white card-type products use the reflective method of measurement. Whichever method you use, the reference frame is used to set the custom white balance (you should refer to your camera manual for specific instructions as to how to use the reference frame to set the custom white balance). As lighting conditions change, you should repeat the process for the best results. Is one better than the other? It really comes down to a matter of choice. Choice also extends to product price-points as there are white balance aids available at a variety of prices.
While there is a lot to be said for using products that have been manufactured to be color neutral or expressly to warm, cool or produce other specific results, there are people who use items like coffee filters and translucent plastic lid caps, as well as simple white paper or fabric to white balance. A word of caution, about using some of these products: White paper and fabric often contain brighteners or bleach which reduces their neutrality, and can result in color cast, so be careful.
Remote Controller Options for Canon’s 5D MarkII, 7D, Rebel T2i, and Rebel T1i Cameras
Do not underestimate the ability to stop and start the video functions of your camera via a remote controller. The benefit is that to the extent you do not have to touch the camera, you reduce the potential for causing camera shake. And with options from Canon that retail for under $30, the remote controller units should be essential for HDSLR shooters. The Canon RC-1 and the RC-5 (as well as the newly announced RC-6 remote controller) are capable of starting and stopping camera video recording. The main difference between the RC-1 and RC-5/6 is that the RC-1 can be used for instant shutter release or a two second delay for still shooting while the RC-5/6 only has the two-second delay for stills. For stopping and starting video, you set the camera drive to one of the timer release modes. With the RC-5/6 you are ready to start your video by pressing the release. With the RC-1, you simply slide the switch to the #2 position and you can start and stop video recording by depressing the release button. There is no delay when the controllers are used for video work. Now the one drawback to the Canon remote controllers is that they require proximity and/or line of sight to the camera’s Infra-Red (IR) lamp on the front right side. I indicate proximity because depending on the camera model and the placement of the IR lamp,the start-stop can sometimes be activated if the controller is close enough without actually having direct line of sight; but I would not want to take a chance or advise users to count on proximity working in the majority of situations. Always strive for line of sight.
In order to address the proximity issue, Long Island-based Switronix has developed the Flex DSLR remote, the base of which can be mounted to a tripod or stabilizer. The Switronix unit uses a flexible gooseneck to allow the remote optical trigger to be placed in front of the camera’s IR sensor. The ability to position the optical trigger in this manner results in flawless wireless stop-start of the video functions without having to hold a remote controller in your hand. While the Flex DSLR which sell in the vicinity of $150, is expensive relative to the Canon remote options, many users, especially those using the cameras for professional applications, will find it an attractive and viable solution.
So there you have it-- some additional items to consider adding to enhance your HDSLR motion capture experience. Feel free to click on the product insert below to get more information on some of the products mentioned in the entry as well as a few others which are noteworthy. Please note that the white balance products in the inset utilize the incident method of measurement. A separate entry on white balance aids which use the reflective method will be posted within the next few weeks in our companion blog www.hdhd411.com.
Click on the image below to enlarge.
Disclosure: No consideration has been received in connection with this blog entry, nor has any manufacturer and/or retailer offered any consideration.
A white balancing reference aid can be an invaluable tool to take along with your HDSLR for use before and during motion capture. The reasons to custom or manually white balance your HDSLR video footage are the same as for doing it for still work: It allows you to make the decisions with respect to your color accuracy rather than relying on the camera to do so, and enables you to maintain greater control and consistency throughout your shoot. Setting a custom or manual white balance can reduce the need for some color corrections during the editing process. Additionally, accurate color capture is an excellent departure point for creative grading. While white balance is often spoken of in terms of color accuracy, it is as much about a pleasing appearance and /or the look you choose to create. If you are just beginning to shoot video and are editing with software that has limited color correction options, setting a manual or custom white balance may become even more important.
There are two ways to achieve in-camera custom/manual white balance: The incident or reflective methods. The incident method of white balancing involves placing a neutral "filter" over the camera lens and shooting a reference frame from the position of your subject, to measure the light and color of light hitting the subject. Popular aids using the incident method include Expo Imaging’s Expodisc and the Brno BaLens cap. The reflective method involves shooting a neutral gray or white card, and capturing and measuring the color of the light reflected by the card from the subject position back to the camera sensor for the reference frame. Products such as WhiBal, Vortex Media’s White Balancing Reference System, and a host of other 18% grey or white card-type products use the reflective method of measurement. Whichever method you use, the reference frame is used to set the custom white balance (you should refer to your camera manual for specific instructions as to how to use the reference frame to set the custom white balance). As lighting conditions change, you should repeat the process for the best results. Is one better than the other? It really comes down to a matter of choice. Choice also extends to product price-points as there are white balance aids available at a variety of prices.
While there is a lot to be said for using products that have been manufactured to be color neutral or expressly to warm, cool or produce other specific results, there are people who use items like coffee filters and translucent plastic lid caps, as well as simple white paper or fabric to white balance. A word of caution, about using some of these products: White paper and fabric often contain brighteners or bleach which reduces their neutrality, and can result in color cast, so be careful.
Remote Controller Options for Canon’s 5D MarkII, 7D, Rebel T2i, and Rebel T1i Cameras
Do not underestimate the ability to stop and start the video functions of your camera via a remote controller. The benefit is that to the extent you do not have to touch the camera, you reduce the potential for causing camera shake. And with options from Canon that retail for under $30, the remote controller units should be essential for HDSLR shooters. The Canon RC-1 and the RC-5 (as well as the newly announced RC-6 remote controller) are capable of starting and stopping camera video recording. The main difference between the RC-1 and RC-5/6 is that the RC-1 can be used for instant shutter release or a two second delay for still shooting while the RC-5/6 only has the two-second delay for stills. For stopping and starting video, you set the camera drive to one of the timer release modes. With the RC-5/6 you are ready to start your video by pressing the release. With the RC-1, you simply slide the switch to the #2 position and you can start and stop video recording by depressing the release button. There is no delay when the controllers are used for video work. Now the one drawback to the Canon remote controllers is that they require proximity and/or line of sight to the camera’s Infra-Red (IR) lamp on the front right side. I indicate proximity because depending on the camera model and the placement of the IR lamp,the start-stop can sometimes be activated if the controller is close enough without actually having direct line of sight; but I would not want to take a chance or advise users to count on proximity working in the majority of situations. Always strive for line of sight.
In order to address the proximity issue, Long Island-based Switronix has developed the Flex DSLR remote, the base of which can be mounted to a tripod or stabilizer. The Switronix unit uses a flexible gooseneck to allow the remote optical trigger to be placed in front of the camera’s IR sensor. The ability to position the optical trigger in this manner results in flawless wireless stop-start of the video functions without having to hold a remote controller in your hand. While the Flex DSLR which sell in the vicinity of $150, is expensive relative to the Canon remote options, many users, especially those using the cameras for professional applications, will find it an attractive and viable solution.
So there you have it-- some additional items to consider adding to enhance your HDSLR motion capture experience. Feel free to click on the product insert below to get more information on some of the products mentioned in the entry as well as a few others which are noteworthy. Please note that the white balance products in the inset utilize the incident method of measurement. A separate entry on white balance aids which use the reflective method will be posted within the next few weeks in our companion blog www.hdhd411.com.
Click on the image below to enlarge.
Disclosure: No consideration has been received in connection with this blog entry, nor has any manufacturer and/or retailer offered any consideration.
Wednesday, March 10, 2010
A Promise Kept: New Firmware for the Canon 5D Mark II is on the Horizon
On or about March 17, the Canon 5D MarkII moves a few steps closer to becoming the “ultimate” HDSLR motion-capturing camera. That’s when the long awaited firmware announced in the summer of 2009, bringing enhanced functionality to the camera’s video capabilities, becomes available for download. The improvements included in Firmware 2.03 are far beyond what many had envisioned when Canon originally announced the planned firmware update, and as outlined in a recent release by Canon, appear to be well worth the wait. The improvements and new features include the option of recording at 24 and 25 fps (NTSC and PAL respectively), an adjustment of the camera’s original frame rate of 30fps to conform with the NTSC protocol, manual adjustment of recording sound levels, a change in sound sampling frequency to match that of the 7D and 1D MarkIV, shutter and aperture priority movie shooting modes which give users control over shutter speed and aperture, and histogram display during manual exposure shooting. I can’t recall a camera manufacturer that has implemented this number of substantial changes to a product, and one which is nearly 18 months old at that. While the changes do not bring all of the resolution and frame rate options available on Canon’s newest models to the 5D MarkII, they do bring consistency to what are probably the most widely used frame rates available on Canon’s latest releases (7D, 1D MarkIV and Rebel T2i.) and the 5D MarkII. Those using multiple camera models will appreciate this.
The nature of the firmware changes underscores the fact that today's digital image-capturing tools are computers. It also confirms the belief of many that manufacturers have tremendous latitude to adjust and improve products, as well as add functionalities during their lifecycles; unfortunately, many do not, opting instead to release new products. Canon could have easily introduced a new model and left the 5D MarkII as is; thankfully, they did not. As a HDSLR, these changes make the Canon 5D MarkII with its full frame (35mm film-sized sensor) an undeniable value leader in terms of price, features and image quality. This is tremendous for those who have been shooting with it since day one, and have come to appreciate what it offers as well as understand and work around its limitations for video, both capture and after-capture workflow. With this firmware release, a stellar imaging machine will be getting even better. The fact that the firmware update is free makes this all the more compelling. While Canon has not announced or indicated that similar firmware upgrades will be made available for other cameras, 7D and 1D MarkIV users must be wondering if they are going to see some of these enhancements made available for those cameras as well.
Canon does acknowledge that the new advances are targeted specifically towards professional video users. Last month’s announcement of the EOS MOVIE Plugin-E1 which was developed to enhance the workflow for Canon HDSLR users editing with Apple’s Final Cut Pro software makes it abundantly clear that they feel there is a substantial professional videographer market for the 5D MarkII as well as their other HDSLRs. The fact is that as the Firmware 2.03 has been described, most video shooters, from the seasoned professional to the enthusiast to the novice, should benefit from the changes and enhancements to the 5D MarkII, although as is the case with all camera features, everyone may not take advantage of them: By way of example, people who are shooting video without recording sound, may not appreciate the significance of the audio control and/or the frequency change.
As the ranks of HDSLRs grow, the technology continues to evolve. Not everyone is going to be happy with some of the features or the lack thereof or the balance between still and video capture capabilities. It is difficult—if not impossible—for a product to be all things to all people. This is and will remain particularly true for multi-media capturing devices. As far as Canon and the 5D MarkII are concerned, the bottom line is that Firmware 2.03 represents a promise kept and then some.
For more details on the upcoming 5D MarkII firmware release, click here.
UPDATE 3/16: The 5D MarkII firmware is available now. Make sure you read and follow the instructions carefully.
The nature of the firmware changes underscores the fact that today's digital image-capturing tools are computers. It also confirms the belief of many that manufacturers have tremendous latitude to adjust and improve products, as well as add functionalities during their lifecycles; unfortunately, many do not, opting instead to release new products. Canon could have easily introduced a new model and left the 5D MarkII as is; thankfully, they did not. As a HDSLR, these changes make the Canon 5D MarkII with its full frame (35mm film-sized sensor) an undeniable value leader in terms of price, features and image quality. This is tremendous for those who have been shooting with it since day one, and have come to appreciate what it offers as well as understand and work around its limitations for video, both capture and after-capture workflow. With this firmware release, a stellar imaging machine will be getting even better. The fact that the firmware update is free makes this all the more compelling. While Canon has not announced or indicated that similar firmware upgrades will be made available for other cameras, 7D and 1D MarkIV users must be wondering if they are going to see some of these enhancements made available for those cameras as well.
Canon does acknowledge that the new advances are targeted specifically towards professional video users. Last month’s announcement of the EOS MOVIE Plugin-E1 which was developed to enhance the workflow for Canon HDSLR users editing with Apple’s Final Cut Pro software makes it abundantly clear that they feel there is a substantial professional videographer market for the 5D MarkII as well as their other HDSLRs. The fact is that as the Firmware 2.03 has been described, most video shooters, from the seasoned professional to the enthusiast to the novice, should benefit from the changes and enhancements to the 5D MarkII, although as is the case with all camera features, everyone may not take advantage of them: By way of example, people who are shooting video without recording sound, may not appreciate the significance of the audio control and/or the frequency change.
As the ranks of HDSLRs grow, the technology continues to evolve. Not everyone is going to be happy with some of the features or the lack thereof or the balance between still and video capture capabilities. It is difficult—if not impossible—for a product to be all things to all people. This is and will remain particularly true for multi-media capturing devices. As far as Canon and the 5D MarkII are concerned, the bottom line is that Firmware 2.03 represents a promise kept and then some.
For more details on the upcoming 5D MarkII firmware release, click here.
UPDATE 3/16: The 5D MarkII firmware is available now. Make sure you read and follow the instructions carefully.
Wednesday, February 24, 2010
HDSLRs: The Ranks Continue to Swell
I have expanded the exhibit of cameras that was included in the inaugural issue of “Outfitting your H(d)SLR” to include the newest members of the class. The models have increased from two in the fall of 2008 to twelve today (including the Panasonic GH1 which is technically not a HDSLR.) That number will continue to grow as the interest in multi-media collateral for personal and business applications continues to grow. I have to admit that I was surprised that Sony released new DSLR models over the last several months without video capability.
But before we get to the chart, let’s look at a few statistics:
• Social networking continued to gain momentum in 2009 with nearly four out of five Internet users visiting a social networking site on a monthly basis
• During December 2009, 86.5 percent of the total U.S. Internet audience (up from 79% in April) viewed online video.
• During December, 134.4 million viewers watched more than 13 billion videos on YouTube.com (97.1 videos per viewer) versus 107 million viewers watching 6.8 million videos (64 videos per viewer) in April 2009.
• 44.9 million viewers watched 423.3 million videos on MySpace sites (9.4 videos per viewer) in December 2009 versus 49 million viewers watching 387 million videos (8 videos per viewer) in April 2009.
• The duration of the average online video was 4.1 minutes in December versus 3.5 minutes in April, 2009.
Source: Comscore Inc. JN6F8B57VCJJ
What is clear is that the demand for video continues to grow.
In terms of the chart, I have included the Panasonic Lumix DMC-GH1 because although it is not a DSLR, there are aspects of the video implementation which are superior to some of the HDSLR offerings in the market, and its price (which includes a video optimized zoom lens) makes it competitive to some of those offerings as well.
(Click on chart to enlarge.)
As always I invite you to look through the current issue of “Outfitting Your H(d)SLR.” by clicking on the magazine embedded below.
Disclosure: No consideration has been received in connection with this blog entry, nor has any manufacturer and/or retailer offered any consideration. Consumers should check and evaluate the features on any equipment for themselves prior to purchase.
But before we get to the chart, let’s look at a few statistics:
• Social networking continued to gain momentum in 2009 with nearly four out of five Internet users visiting a social networking site on a monthly basis
• During December 2009, 86.5 percent of the total U.S. Internet audience (up from 79% in April) viewed online video.
• During December, 134.4 million viewers watched more than 13 billion videos on YouTube.com (97.1 videos per viewer) versus 107 million viewers watching 6.8 million videos (64 videos per viewer) in April 2009.
• 44.9 million viewers watched 423.3 million videos on MySpace sites (9.4 videos per viewer) in December 2009 versus 49 million viewers watching 387 million videos (8 videos per viewer) in April 2009.
• The duration of the average online video was 4.1 minutes in December versus 3.5 minutes in April, 2009.
Source: Comscore Inc. JN6F8B57VCJJ
What is clear is that the demand for video continues to grow.
In terms of the chart, I have included the Panasonic Lumix DMC-GH1 because although it is not a DSLR, there are aspects of the video implementation which are superior to some of the HDSLR offerings in the market, and its price (which includes a video optimized zoom lens) makes it competitive to some of those offerings as well.
(Click on chart to enlarge.)
As always I invite you to look through the current issue of “Outfitting Your H(d)SLR.” by clicking on the magazine embedded below.
Disclosure: No consideration has been received in connection with this blog entry, nor has any manufacturer and/or retailer offered any consideration. Consumers should check and evaluate the features on any equipment for themselves prior to purchase.
Thursday, February 18, 2010
H(d)SLR Stabilizers: A Modular Approach
I recently made a presentation on H(d)SLRs to a group of photographers in New York, and two of the concerns the audience had included the amount of money needed to get your H(d)SLR video ready and the size of the equipment. It got me thinking about a reasonably-priced, handheld stabilizing solution that would allow for growth and expansion as needed. If your curiosity is peaked, read on….
The Modular Stabilizer in Four Acts.
Act 1
The foundation for this handheld stabilizer comes from British Columbia-based Cavision (designated 1 in the images.) It is their Single Handgrip with the RCP4590 plate. The grip folds down and attaches to the camera via a tripod socket. The MSRP of the Handgrip and plate assembly is $75USD. In this configuration, you have a solid platform to handhold your camera which provides two points (handgrip, plus free hand on camera) of stabilization.
Act 2
The next component is a LCD viewfinder accessory. I choose the Cinema kit from Hoodman, which includes the Hoodman Loupe 3.0, Eyecup 3.0 and a cinema strap to attach the Loupe assembly to the camera. While the Hoodman does not magnify, it does enhance the viewfinder experience, by cutting out stray light and providing three points of contact (hand grip, free hand on camera, and face) for stability. The kit retails in the vicinity of $115USD. This is where I find myself a little divided: While I do have the strap, I have had some issues with keeping the loupe firmly anchored to the camera with the strap on.
As an alternative to the Hoodman strap, there is the Redrock Micro Microfinder Loupe Accessory kit (as attached to the Hoodman Loupe and designated 2 in the images.) The loupe attachment fits to the Hoodman loupe and is seated between the camera and the Cavision plate. The MSRP of the Microfinder Loupe Accessory kit is $55.
A word of caution: do not handle the camera by the viewfinder accessory because it is sandwiched between the camera and base plate and its security depends on tightening the mounting screw in the tripod socket.
Act 3
The next component is for those interested in on-camera lighting and/or a microphone. The item of choice is the Cool-Lux MD 3000 Light and Sound Bracket (designated 3 in the images.) The aluminum bracket has two cold shoes at different heights, so it can accommodate a microphone and a light. It can be mounted on-camera in the hot shoe or on an off-camera accessory (as you will see next.) The bracket retails for just under $30USD.
Act 4
The final add-on is intended to provide an additional stabilizing point and to get the mike and light off the camera body. I realized that the Cavision pate had additional holes which would accommodate and extension arm. I happened to have a Sunpak E-flash Grip and Extension Arm from experimenting a few years back with their flat panel E-flash units (designated 4 in the images.) The extension arm is simply screwed into one of the holes in the Cavision plate. It can be placed on either the left or right side of the camera. It provides a second hand grip, and an arm with a ball head attachment that the Cool-Lux Bracket can be placed on to further isolate a microphone and or light from the camera. Some people may prefer the balance that the additional grip offers. The good news is that the Sunpak Grip and Extension Arm kit retails for $34.95. Note: The Sunpak Extension Arm will fit on the Cavision 5D MarkII and 7D Single Hand Grip and Viewfinder package which was previously reviewed.
(The handheld stabilizer rig is shown attached to a light stand for illustration.)
So there you have it, a modular stabilizing solution that takes elements from different product lines and combines them in a unique and functional way. I am particularly fond of this solution because it is not camera brand specific. Although I personally prefer the Microfinder accessory, one of the benefits of the Hoodman Cinema Strap is that the Loupe can be used with different sized camera bodies and/or bodies with or without a battery grip. We recently learned from one of our readers that the Loupe 3.0 does cover the screen of the new Rebel T2i,(thanks to Paul G for that info.) This stabilizing solution is easy to carry, easy to assemble/disassemble, and for people just getting their feet wet with motion capture, can be enhanced as their skills grow.
As always, we invite you to check out the current copy of “Outfitting Your H(d)SLR by clicking on the copy embedded below.
Disclosure: No consideration has been received in connection with this blog entry, nor has any manufacturer and/or retailer offered any consideration.
The Modular Stabilizer in Four Acts.
Act 1
The foundation for this handheld stabilizer comes from British Columbia-based Cavision (designated 1 in the images.) It is their Single Handgrip with the RCP4590 plate. The grip folds down and attaches to the camera via a tripod socket. The MSRP of the Handgrip and plate assembly is $75USD. In this configuration, you have a solid platform to handhold your camera which provides two points (handgrip, plus free hand on camera) of stabilization.
Act 2
The next component is a LCD viewfinder accessory. I choose the Cinema kit from Hoodman, which includes the Hoodman Loupe 3.0, Eyecup 3.0 and a cinema strap to attach the Loupe assembly to the camera. While the Hoodman does not magnify, it does enhance the viewfinder experience, by cutting out stray light and providing three points of contact (hand grip, free hand on camera, and face) for stability. The kit retails in the vicinity of $115USD. This is where I find myself a little divided: While I do have the strap, I have had some issues with keeping the loupe firmly anchored to the camera with the strap on.
As an alternative to the Hoodman strap, there is the Redrock Micro Microfinder Loupe Accessory kit (as attached to the Hoodman Loupe and designated 2 in the images.) The loupe attachment fits to the Hoodman loupe and is seated between the camera and the Cavision plate. The MSRP of the Microfinder Loupe Accessory kit is $55.
A word of caution: do not handle the camera by the viewfinder accessory because it is sandwiched between the camera and base plate and its security depends on tightening the mounting screw in the tripod socket.
Act 3
The next component is for those interested in on-camera lighting and/or a microphone. The item of choice is the Cool-Lux MD 3000 Light and Sound Bracket (designated 3 in the images.) The aluminum bracket has two cold shoes at different heights, so it can accommodate a microphone and a light. It can be mounted on-camera in the hot shoe or on an off-camera accessory (as you will see next.) The bracket retails for just under $30USD.
Act 4
The final add-on is intended to provide an additional stabilizing point and to get the mike and light off the camera body. I realized that the Cavision pate had additional holes which would accommodate and extension arm. I happened to have a Sunpak E-flash Grip and Extension Arm from experimenting a few years back with their flat panel E-flash units (designated 4 in the images.) The extension arm is simply screwed into one of the holes in the Cavision plate. It can be placed on either the left or right side of the camera. It provides a second hand grip, and an arm with a ball head attachment that the Cool-Lux Bracket can be placed on to further isolate a microphone and or light from the camera. Some people may prefer the balance that the additional grip offers. The good news is that the Sunpak Grip and Extension Arm kit retails for $34.95. Note: The Sunpak Extension Arm will fit on the Cavision 5D MarkII and 7D Single Hand Grip and Viewfinder package which was previously reviewed.
So there you have it, a modular stabilizing solution that takes elements from different product lines and combines them in a unique and functional way. I am particularly fond of this solution because it is not camera brand specific. Although I personally prefer the Microfinder accessory, one of the benefits of the Hoodman Cinema Strap is that the Loupe can be used with different sized camera bodies and/or bodies with or without a battery grip. We recently learned from one of our readers that the Loupe 3.0 does cover the screen of the new Rebel T2i,(thanks to Paul G for that info.) This stabilizing solution is easy to carry, easy to assemble/disassemble, and for people just getting their feet wet with motion capture, can be enhanced as their skills grow.
As always, we invite you to check out the current copy of “Outfitting Your H(d)SLR by clicking on the copy embedded below.
Disclosure: No consideration has been received in connection with this blog entry, nor has any manufacturer and/or retailer offered any consideration.
Thursday, January 28, 2010
A Light and Portable Handheld HDSLR Stabilizer From Cavision
Recently, I was getting ready to go out and shoot some stills and motion for a personal project, and needed to travel as lightly as possible; this meant no monopod, tripod or larger stabilizer for video capture. I wanted a stabilizer that I could fit in a small to medium size camera bag, that was easy to store, required minimal assembly, and was lightweight for use with my 5D MarkII. My search led me to the Cavision Single DSLR Handgrip with Integrated Viewfinder. The Handgrip package is available for both the 5D MarkII or the 7D. (The difference between the 5D package and the 7D package is an additional spacer plate required because of the camera size differentials.)
On paper the handgrip package has a lot going for it: it is compact and the handle folds down, has an integrated swing away viewfinder which offers 6x magnification, is lightweight and best of all, is priced at $199. So I ordered one from a local retailer.
The stabilizer delivered all that it promised. It is lightweight, easy to get in my bag with the camera attached or detached, and nicely finished. No instructions are required as it is obvious that the camera is mounted by screwing it to the mounting plate. It also takes about two seconds or less to figure out how to engage and disengage and lock the hinged viewfinder. In terms of stability, with the camera mounted to the rig, there are three points of stability: One point at the hand grip, a second point at the eyecup and a third point can be established by the free hand, should you choose to place it on the camera.
In real world shooting, it works quite well with my collection of normal zooms and sub-200mm primes. But mounting the 70-200 zoom on it was challenging for me after a few minutes because the lens weight and length makes the rig front heavy. The viewfinder is a mixed blessing. I love the magnification; but it does not have a diopter adjustment which some users might prefer, nor is the viewfinder focusable. There is a price that one pays for the 6x magnification factor: There is some visible pincushion distortion (the corners bowing inward) when you view the LCD through the viewfinder. I mention this because some people may be disturbed by the visual effect of viewing the LCD where the corners lose their flat perspective and it potentially could affect critical manual focus of off-center subjects. I gave the rig to a couple of other photographers and they only became aware of the effect after I pointed it out. I did confirm that representatives of Cavision are aware that there is some pin-cushioning as a result of the higher magnification factor of their viewfinder. If you are using autofocus prior to the commencement of motion capture, the pincushioning if you notice it, is only a visual annoyance.
According to Bernie Koth-Kappus of the Vancouver based company, “We do have a wide variety of products for DSLR cameras, both at varying price points and for various different functions. One of Cavision’s primary goals is to create products that are universal and can fit a large variety of cameras. Because most of our systems are customizable and we already have many different types of components available, we can usually come up with a configuration for almost any camera.” As the HDSLR market continues to develop and mature, the ability to deliver products for various camera bodies and configurations is going to become increasingly important. In addition to the spacer plate to allow the 5D MarkII and the 7D to use the same stabilizer solutions, Koth-Kappus cites the development of a setup that would be suitable for the 5D MarkII with battery grip or Beachtek adapter (shown below on a shoulder mount stabilizer with extra accessories)
as examples of the ability and commitment Cavision has to crafting solutions. The company has an impressive lineup of attractively priced HDSLR related products from handheld stabilizers to shoulder mounts with follow focus ranging from $75 to around $900USD. Click here to visit Cavision’s website.
Disclosure: No consideration has been received in connection with this blog entry, nor has any manufacturer and/or retailer offered any consideration.
As always we invite you to look through the current issue of "Outfitting Your HDSLR" by clicking on the pages on the embedded magazine below:
On paper the handgrip package has a lot going for it: it is compact and the handle folds down, has an integrated swing away viewfinder which offers 6x magnification, is lightweight and best of all, is priced at $199. So I ordered one from a local retailer.
The stabilizer delivered all that it promised. It is lightweight, easy to get in my bag with the camera attached or detached, and nicely finished. No instructions are required as it is obvious that the camera is mounted by screwing it to the mounting plate. It also takes about two seconds or less to figure out how to engage and disengage and lock the hinged viewfinder. In terms of stability, with the camera mounted to the rig, there are three points of stability: One point at the hand grip, a second point at the eyecup and a third point can be established by the free hand, should you choose to place it on the camera.
In real world shooting, it works quite well with my collection of normal zooms and sub-200mm primes. But mounting the 70-200 zoom on it was challenging for me after a few minutes because the lens weight and length makes the rig front heavy. The viewfinder is a mixed blessing. I love the magnification; but it does not have a diopter adjustment which some users might prefer, nor is the viewfinder focusable. There is a price that one pays for the 6x magnification factor: There is some visible pincushion distortion (the corners bowing inward) when you view the LCD through the viewfinder. I mention this because some people may be disturbed by the visual effect of viewing the LCD where the corners lose their flat perspective and it potentially could affect critical manual focus of off-center subjects. I gave the rig to a couple of other photographers and they only became aware of the effect after I pointed it out. I did confirm that representatives of Cavision are aware that there is some pin-cushioning as a result of the higher magnification factor of their viewfinder. If you are using autofocus prior to the commencement of motion capture, the pincushioning if you notice it, is only a visual annoyance.
According to Bernie Koth-Kappus of the Vancouver based company, “We do have a wide variety of products for DSLR cameras, both at varying price points and for various different functions. One of Cavision’s primary goals is to create products that are universal and can fit a large variety of cameras. Because most of our systems are customizable and we already have many different types of components available, we can usually come up with a configuration for almost any camera.” As the HDSLR market continues to develop and mature, the ability to deliver products for various camera bodies and configurations is going to become increasingly important. In addition to the spacer plate to allow the 5D MarkII and the 7D to use the same stabilizer solutions, Koth-Kappus cites the development of a setup that would be suitable for the 5D MarkII with battery grip or Beachtek adapter (shown below on a shoulder mount stabilizer with extra accessories)
as examples of the ability and commitment Cavision has to crafting solutions. The company has an impressive lineup of attractively priced HDSLR related products from handheld stabilizers to shoulder mounts with follow focus ranging from $75 to around $900USD. Click here to visit Cavision’s website.
Disclosure: No consideration has been received in connection with this blog entry, nor has any manufacturer and/or retailer offered any consideration.
As always we invite you to look through the current issue of "Outfitting Your HDSLR" by clicking on the pages on the embedded magazine below:
Friday, January 8, 2010
The H(d)SLR Evolution – Beyond the Stills and (e)Motion
I was very excited with the announcements of the first HDSLRs nearly a year and a half ago. The promise of being able to capture some quick video clips while shooting stills was so alluring. During this period I have been shooting still and motion, I have not only shot clips as part of still projects, but ventured beyond. I asked myself if I was just getting caught up in the film making juggernaut or was there something else going on. After a lot of examination, I concluded that my thought processes and use of stills and motion was a natural evolution, which happens with availability, exposure and comfort. Do I consider myself a film maker or aspire to be one? Not by any stretch of the imagination, but I do find myself thinking about my work differently: I now consider motion capture as a part of my normal shooting options. Motion capture is also something clients looking for stills do not even know they want–until they see it.
While HD video is a feature which I showing up on a growing number of new DSLRs, it is still in its infancy and therein lies the problem: Whose baby is it? Is it for the enthusiast who is buying the camera primarily for still capability to capture personal images? The inclusion of HD video on entry and some mid level products from Canon, Nikon, Panasonic, and Pentax, would suggest that it is. Is it for the budding film maker? The changes that Canon in particular has made since the introduction of the 5D MarkII in frame rates and controls, says it is. The huge number of accessories available from manufacturers to make Canon, Panasonic, and Nikon HDSLR offerings more “movie maker” friendly, suggest it too.
And of course, the inclusion of video capture on the “professional” photojournalist and sports big guns from the big two DSLR makers suggest that the motion capture has professional overtone for even these primarily still shooters. It seems that the HDSLR is everyone’s baby!
The challenge for some HDSLR users is figuring out how to use this capability without taxing their budgets and intestinal fortitude as it relates to getting their motion work from the camera to the Web or small screen. This may describe the people who want to use the video capability without having to get into the intricacies of codec and wrappers or can warrant/justifying spending a “king’s ransom” to make their camera more video friendly. The good news is that they do not have to if they choose not to. They need to be thoughtful with respect to the equipment and software they are considering. They also need to remember before they start shooting that motion capture is about the visual story and sound.
Film makers and aspiring film makers have a different set of challenges. They understand the significance of the story and sound. The film maker is often working with other people with specific expertise and defined roles in the movie making process. They need to make a tool with drawbacks and limitations work for them. Obviously, the limitations pale in comparison to the benefits derived from the larger chip and greater depth of field control that HDSLRs and the lens options offer at a fraction of the cost of traditional movie cameras. How important are film makers to the HDSLR evolution? They are very important, and Canon, cites film makers’ desires and needs as a factor in changes and further development and refinement of their HDSLR offerings.
While the film maker is concerned about camera stabilization, more often than not, the concern is over stabilizing more than just the camera. A host of other accessories and equipment is often used to optimize their capture work. The need to attach sound equipment, focus follows, matte boxes, and monitors among other items. The film maker also has a different set of video editing needs and will usually require substantially more expensive and/or involved software solutions. The use of separate recording devices can add another level of complexity to after-capture work flow as the footage and sound must be synced, and multiple tracks of sound may be needed. The advantage the film maker picking up a HDSLR has over other users is a better understanding of its limitations, as well as what things they will need to make it work for them.
For the camera makers all of this means that they have a lot of markets to address and try to keep happy. A few years ago, the concerns were over dynamic range, improved autofocus, better in-camera white balance, and other things relevant to still capture. Today, in addition to having to address issues related to and improving still capture, the DSLR manufacturers have to address issues and enhancements related to motion capture. It will be interesting to see how everyone’s baby grows up.
To view the current issue of the guide, "Outfitting Your H(d)SLR" click on the embedded magazine below and enjoy checking out the H(d)SLR friendly gear.
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