David Daniel Doherty

Cheers, Dave. Option two is resonating most with me. I’m shooting a musician performing in a hotel suite we’ve rented. His music is very quiet and quite sad. I plan on using long slow camera moves (motor slider and dolly) and zooms. I’d like to create a somber, semi dramatic look and feel, to match the melancholic sounds. Warm sunset / edge might also be something to aim for.

Hi all, Ive a living room scene to shoot, Red Epic. As it stands, I have available Arri Tungsten lights - 3 x 800w and 2 x 1200 I use these in a fashion studio daily and I know how to utilize them and control them when shooting people quite well. Im now concerned because Im mixing these with daylight from a window in the upcoming shoot. The question I am asking myself is, should I use CTB gels with my Arris, or just hire day light balanced lighting. I guess Id like to use the Arris tungstens, since I know them. Therefore, then my concern is the efficiency or inefficiency of using gels with them, I have no experience with this. I wonder how much compromise will be introduced to the output and the general disadvantages. If anyone wants to respond in a positive way, please do, if you have an opinion or idea which option you might choose, in my shoes. Cheers, David.

Lovely stuff. I’ll post some footage shortly also. I have some, hopefully, nice shooting techniques, to employ. Thanks again

Thanks for your input. I had the pleasure of testing the 1014 this morning, I am delighted with the results and my client has been blown away. I begin shooting and contributing the footage January 5th. 1 full year contract to begin. A nice enough little earner on top of my full time salary. Thanks again, all, especially Samuel for pointing me in the direction of Canon. David.

There are two options before me: waiting on the new Kodak release or buying a vintage camera. This creates the trade off. The trade off being: more efficient Kodak camera which I would have to wait for vs less efficient vintage camera which is available now. I’m no expert, but I have to assume the digital additions to the 2018 product will make it more efficient in a few ways.

Yes, I hear you there. I have a full time shooting job for a company, this is on the side freelance work. I am supposed start this work in early 2018. I’ve enquired about a Canon 1014 XLS from a local company who seem to provide the full Super 8 service, which sounds quite promising. Ideal in fact, if they can deliver what they say. My main concern is practicality and efficiency which the new Kodak product will have a lot of - digital advantages and effficient (maybe) supply of stock and conversion to digital process etc So there is a bit of a trade off as always. Thanks for your input. Getting closer

Thanks, Samuel. I’ve a client who is looking for A LOT of Super 8 footage, stock footage basically. I’d really love to get the ball rolling with it, but surely the new Kodak Super 8 Camera would be the only really efficient approach this, seeing as I’ll be collecting loads of content. Hopefully out for summer then. Cheers

Hello, I'm looking for info on the release of the Kodak Super 8 camera, which was introduced last year and supposed to be released in 2017. The release of this thing has become very ambiguous. I hear from time to time (in online comments, which aren't always to be taken too seriously), that the Super 8 Camera has been scrapped. Any info will be appreciated. Many thanks! David.

I’ve got it! https://m.youtube.com/watch?v=QlSv818d1Rk

Great idea on the bulbs, just ordered a load of 'em. Cheers

Also available...

Hi all, I'm shooting a piano songwriter guy in one of the attached beautiful studio spaces next month. Gear available: C300 and a some lenses Dolly 3 x 800w Arri Tungsten lamps Trace Paper diffusion (yes) We've been carrying out tests for the past few days and have a lighting set up that works for a number of angles, really nicely. But, If anyone is interested, I'd love to hear how you'd initially consider approaching this situation, with the gear, available light and space. I will post the performance video upon completion, end of November. Any positive contribution to the thread will be greatly appreciated. Dave

Hey, thanks for the reply and reference video. It's great that you were able to key that sky out, with that complex tree in front of it. However, this is something I can already do, without difficulty. Your foreground video is a static tripod shot. What I want to know is what's the best way of tracking that complex (or even a non complex) mask, when using a camera move like in my attached video. Another thought is that having to wait on blue sky days is not practical. I'm in Ireland, we get about one blue sky per decade here! Haha

Hi all, I'm undertaking a new project. The idea is to mask out parts scenes, for example the sky, and replace it with something else. In the attached video clip sample, my process is: Apply an Alpha Matt to original footage, manually mask the Alpha Matt, to remove the sky. Then, frame by frame, animate / track the mask, so it stays aligned with the alpha matt / original footage, during the actual camera move. I'm new enough to After Effects, so any tips on how to improve this technique would be great. The most important part of the process is the accuracy of the mask, as the camera moves. My approach feels a little stone age though? http://iplayerhd.com/player/video/feff81b8-9bb7-437d-ae81-31ac71132c49/share

Hi folks, I require a nice fluid tripod head, for an E.Commerce studio, for basic but smooth tilt and pan shots. Budget, 400/500/600 Euro Any recommends are very much appreciated. Many thanks, Dave

Practical to alternate the same camera between gimbal and more traditional tools (dolly, tripod) on set? Time wise? Tempting to use the gimbal for the entire project, but then it's being used simply because it's there, making the shots potentially less purposeful. There's no real way I can use two cameras. That said, the music is ambient and nostalgic and the footage will mostly be slow motion. Much experience using gimbals for simple over-shoulder shots and such?

Thanks, men, and nice tip, Miguel

Hi all, I'm shooting a project on an Arri Alexa Classic EV in a few months. Shortly, I will purchase my own Gimbal, most likely a Ronin, biggie. The Arri will be a rental. I have seen it done before, but was wondering if anyone had any experience combining the two pieces of kit? Or if you can think of a more ideal set up for me, I am all ears. Camera and grip. This is my client's reference: Many thanks, Dave.

Ha!

I fear this is becoming tedious, but a dolly can be lightweight and still have some wheel resistance, making the camera heavier to push. One has nothing to do with the other. This, therefore, allowing for gradual movements. And the tool remainging lightweight. Goodnight

Either

Cheers, sir. Yeah, such techniques may do the trick but a heavier push is still much better

Dolly in/outs are of course possible with a slider. At that short length, motion control is a must in my opinion, as you'll want the entire move, start to finish, to be useable. Motion control will give you that accuracy, as slow as you like also. I've been using the ''Digi Slider'' for years. It's brilliant and reasonably priced

Hey all, I used the Dana all over the project below. Rental. My only issue was the speed of the wheels - they had not much resistance. I'd rather have to put a bit of weight behind my moves. Without any resistance, gradual movements weren't as easy as I'd like. I suspect there's a common piece of kit I don't know about that would be an addition to the Dana? Oh, I'm using it in my profile image also. http://iplayerhd.com/player/video/57a4b81c-47b3-4c87-afd7-6c7f877bf6a7/share

Hey all, here is another test, where the second cut is definitely on the action. For me it still feels choppy, no? Maybe I'm wrong. Password is 'pw' https://vimeo.com/194521168