Chris Barker

Thanks very much for the responses. I have done a number of ISO tests on the Gemini and generally find that 250 is extremely clean, noise becomes more noticable at around 500 and at 800+ it becomes bothersome to me. Perhaps I am looking too hard for it though. On a RED Tech video there was some advice saying if you want a clean look and you don't need much highlight protection you may want to shoot at a low ISO, like 400. I rarely need to protect highlights as I tend to shoot interiors with available light and exteriors around dawn and dusk. So, my strategy for this project was to keep the ISO as low as possible (usually keeping at 250 unless the light is very low/boosting a bit to avoid straying from a lens' sweet spot where possible). I'm not sure if that's tenable or if I'm going low to the extreme or overlooking anything. I'm also concerned that if I boost to say 800 for certain scenes these might stand out, ditto with using a Angeniuex PL lens for our Steadicam scenes when the bulk of the film will be shot on Canon L EF lenses.

Hello, I need to shoot an event that will be in fairly low light with multiple cameras and am concerned about getting clean footage that matches the scene, and with the rest of the film. I am thinking of using a fast prime for the A camera (Canon 24mm or 35mm f1.4 L II), and the B camera pretty much has to be a telephoto zoom. I am concerned that using what I have, the Canon f2.8 70-200mm II, will be too slow in comparison with the faster lens. If the exposure for the event on the day should be f1.8 at 250 ISO (using a RED Gemini and I like to go as clean as possible), I suppose it would be best to shoot both cameras at f2.8, 500(ish) ISO to match the amount of noise? The only faster telephoto zoom I could find is a ANGENIEUX EZ1 30-90mm T2.0, but I'm concerned that it's not long enough, and that using a different brand will create another mismatch. Even if the A cam was one too, I will still be cutting with elements from the rest of the film, which will all be shot with Canon L lenses (outside of a few speciality shots perhaps). Another issue is getting some shots at 60fps with the slower lens, which will exacerbate the low light issue. Any thoughts on navigating this situation would be greatly appreciated.

Hi, I have some Hoya ND and Circular Polarizing filters (77mm and 72mm) that seem fine, though I'm in the process of upgrading a lot of my equipment and would like to upgrade to a brand/model that is as neutral as possible, if there are ones that are noticeably better. I need an ND mainly for sunsets, and a CPL for rainbows etc. Any suggestions would be greatly appreciated. Many thanks

My rig is pretty light so I should be about 4KG under the tripod's max capacity with the 2ft slider. With sliders, it seems the options are lightweight 2KGish video head ones that aren't good enough (I used one on my first feature and fixed most shots in post to look perfect)...or 75mm+ ones that weigh five times as much (hopefully the Flyking is good enough to get it right in camera...I guess I'm looking at trying MYT Works or similar if not, which are way more expensive).

Thanks for the tip. Please can you explain why? I noticed that the 100mm version comes with a 75mm adapter so was thinking about trying that.

Thanks...I heard those are good but haven't been able to find any. I tried out a lightweight video slider (Rhino) which was "probably fixable in post" level, so am thinking about a 2ft Flyking (perhaps the wheeled bag will make long distances easier/possible where possible). I also found a good deal on a used Miller Compass 20 so snatched that up. I think it's probably good enough...just not sure if an O'Connor would provide noticeably better results.

P.S. tested with 50mm lens (my most used lens)

The Sacthler 75mm looked fine during operation, but when I reviewed the pans/tilts on a large monitor they weren’t perfectly smooth (all properly set up, and I think I’m a pretty good operator). Bearing in mind I’m a total perfectionist. I read subsequently that 100mm systems are really the way to go for cinema cameras, so was thinking about trying to find/save for an O’Connor…unsure if this is overkill for a light rig/run and gun setup or if this is the only way to get perfectly smooth motion.

Thanks for the response. I'm flexible about length (main concern is overall weight); probably looking at 2-3ft.

Hello, I do mainly solo run and run-and-gun documentary work and need a new tripod system and slider for perfectly smooth results with both. My rig is light (bare bones RED = 6.5lbs; could add the V-lock battery = 9lbs). I tested a Sachtler FSB8 Flowtech 75mm, but it wasn't smooth enough. This is pushing me toward a 100mm tripod system, but in addition to the extra weight on the tripod, 100mm bowl sliders all seem to be very heavy, making carrying it all over decent distances on certain shoots potentially impossible. And on top of that, would a 100mm bowl slider need two tripods, rather than much lighter supports? Is portable and perfectly smooth possible with a tripod and slider setup? Can a sub-100mm setup provide the stability? Is there a luggable 100mm solution? Any thoughts greatly appreciated

Hi, I need to invest in a new tripod and slider. My rig is usually very stripped down (typically a RED with a 50mm prime, no matte box, no batteries on camera = 2.5kg/5.5lbs +). Is thinking about an O'Connor 1040 with a Flyking overkill? I tested a Sachtler Flowtech 75mm FSB-8 and, unless I was doing something wrong, the pans/tilts just weren't smooth enough. I would ideally like the lightest tripod/slider combo possible as it will save me having to hire assistants for documentary shoots where I have to walk long distances, but getting a setup sturdy enough that I can be confident I'll have perfectly smooth results is much more important. Thanks

Thanks very much for the responses (and apologies for the delay in response). 4K would be optimal, though I'm guessing 2K will suffice (I'm independent director/producer and don't have distribution or external requirements on deliverables set up before production). My budget can extend to what the projects need, within reason (the ceiling is probably around $10K). My gut feeling is to go for the Gemini, though it's difficult to spend so much more on one than a used Arri. I'm guessing the other RED models might have issues with the low light/high speed requirements. I often operate as a one man unit, so the extra weight of a cheaper Arri could be an issue on some shoots. In regards to matching RED/Arri footage, is it just a matter of latitude and colour (the former probably being not that noticeable, and the latter easy to match)? Would the overall style/feel of the footage not be noticeably different? Many thanks

Hello, I have some documentaries in development that will mainly be shot at 120fps (often on a Steadicam) and need a new camera for this. As well as high speed, I need something that will work well in available light, often with little of it (not that I need night vision or something unnatural…I generally only shoot around golden hour to twilight, and often in fairly dark interiors), and provides a clean look. I previously used a RED DSMC (and would like to use RED footage from my archive in new projects, ideally), so have been thinking of getting a Gemini. I am conflicted about maybe going with Arri though (primarily as they are much cheaper used). I definitely want a cinematic look, so am not that interested in models outside of cinema cameras, though am open to suggestions if I have misjudged these. Thanks!