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Found 19 results

  1. Hi everyone, I own an Aaton LTR 7, and I was hoping someone would be able to offer some advice on a bridge plate / rig that would be compatible. The wooden grip handle that came with the camera constantly comes loose and is more annoying than practical for handheld shooting. I'd prefer to just sort a set up with rails and moose bars that I can adjust more easily. I found an ARRI BP-5 on ebay but it seems that they work best with 35mm / Digital cameras. Can anyone recommend an alternative bridge plate that could work? Any suggestions/ recommendations would be super appreciated! Thanks
  2. I have a problem: I love handheld footage, not shaky cam, but just a shot that would normally be on a dolly or a tripod being held, the slight movement with shadowy hard lighting is my favorite style. That isn't my problem, my problem is the camera I have: a Black Magic Design Cinema Camera. Now, the picture is fantastic, the RAW and ProRes are fantastic, and having to rig the hell out of it for full effect is perfectly fine with me. And I can deal with the crop factor by working with focal lengths from 18-35. My problem that I can't deal with is the rolling shutter. When I do a whip pan or run with the camera, It becomes very apparent. I don't want to just fix it in adobe every time, and as to my knowledge there are no speedboosters that can put a different mount onto an EF mount due to sensor size issues, so my question is, what can I get or due to fix the rolling shutter? Faster lens? Wider focal length? Heavier rig? A speedbooster I'm not aware of? And if not, what should I get to replace it, specifically with handheld in mind? Sorry if I made any eyes roll, I'm a rookie here.
  3. Hey everyone! I'm selling my Bartech BFD because I've had a slight career shift and my new work doesn't need the beefier setup of the BFD and M-One Motor. Everything is in used condition, but works great. I have lots of detailed photos and I'm happy to take specific photo requests if you have something you want to see in detail before buying. I'm including everything pictured (except the table or cyc wall). There's a lot in this kit, but I'll break it down as best as I can. Frankly, there's a few cables that came with the BFD when I bought it that I'd be unable to identify properly, but I've included the detailed pictures of all cables and connectors. Here's what's in the kit: Foam-Fitted Handheld Case An ORIGINAL printout, analog paper Manual with OEM staple. Bartech BFD Wireless Transmitter - Handheld Focus Puller (S/N T1.0154) Spare Markers for BFD BFD Hardwire Cable. 25' Cable connecting the Transmitter to the Receiver in case of signal loss or faulty connection. Works great on jibs or cranes. (Reference: Image B) Bartech BFD Wireless Receiver (S/N R1.0154) Horizontal and Vertical Mounts (15mm and 19mm) New Antenna (Not pictured; I lost the original plastic antenna cover, but ordered an entirely new OEM replacement antenna.) BFD Receiver Gimbal Mount - Hard-wire Remote Control for use on a Steadicam, Movi or Ronin. (Reference: Image A) M-One Motor (S/N M-1.0010) Six gears with varying pitches for different size lenses: 0.8m - 32P (2x), 0.5m, 48P, 0.4m - 64P, and 0.6m 15mm, 17mm and 19mm rod adapters for proper mounting fit Misc Hardware for Receiver Mount and replacement screws Additional Cable Assortment 3-Pin male to 3-Pin male LEMO long hardwire power extension cable (Looks to be about 10-15 feet long. I can confirm if you'd prefer, just let me know!) (Reference: Image H) 5-Pin male to 5-Pin male LEMO connector cable from receiver to motor (Reference: Image D) 3-Pin male to 2-Pin male LEMO to power receiver from Steadicam Zephyr (and others with similar 3-Pin connector) (Reference: Image I) Anton Bauer D-Tap male to 2-pin LEMO male to power the receiver from an Anton Bauer battery or V-Mount adapter with proper D-Tap connector. (Reference: Image G) 12V 4-Pin XLR male to 2-pin LEMO male presumably powering the receiver off of beefier film cameras or battery connectors (Reference: Image E) Unidentified 2-pin male LEMO to a fun, half 2-pin male, half 2-pin female connector that I've never seen before or needed to work with. If you recognize it, you get bonus points. (Reference: Image F) I think this last one is an old Panavision connector, if memory serves. But, I'm really not certain on this one either. It's a half 1-pin male, half 1-pin female LEMO connector and a fat 11-pin male connector on the other end. (Reference: Image C) Price: $3750 USD FREE SHIPPING to USA. Will provide quote for international Shipping. Payment via Paypal for Shipping or cash for Local Pickup: Boston area) Pictures attached:
  4. Howdy! I'll being shooting handheld on trails and want to smooth out the inevitable shakes. I was hoping to us the Serene Arm with the Gravity One, but the rental house I'm using doesn't have the Gravity One currently. They've given me a Puppeteer but my understanding is that it is primarily for gimbals. So! My question is: Is there any way I can utilize the Puppeteer in a similar way to the Gravity One? Is there a different piece of gear I could use in conjunction with the EasyRig to smooth things out? I have to make the best of what I've got. Thanks!
  5. Looking to add a FlowCine Serene arm to my EasyRig Mini Strong. Unfortunately the Flowcines are crazy expensive (for me) at around $2.3k. I found that there are knockoff Flowcine arms out of china for $300....I'm strongly considering this especially because it doesn't require drilling into my easyrig. Anyhave have thoughts/experiences on if this is worth it? Link: http://www.ebay.com/itm/As-EASY-RIG-flowcine-serene-arm-for-film-camera-dslr-DJI-Ronin-3-AXIS-gimbal-USA-/232167874744?hash=item360e48a0b8:g:u48AAOSwtGlZE-AZ
  6. I would like to film inside a moving bus (small bus, driving on smooth streets) with a Red Epic and achieve fairly-stable shots (not bumpy or jerky). I will test handheld and a tripod. I'm actually okay with smooth handheld feel if I can pull that off. I might try strapping the camera to sandbags or beanbags, to seats or dashboard. I have not used a Movi - would that be worth testing in this scenario? Do you have any camera operation or technology recommendations for this? Thank you, Chris
  7. Hey, guys, selling my Red Epic package, here is the link, let me know if you have any questions, cheers http://www.ebay.com/itm/222483796329?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649
  8. Hey all, I'm looking for examples of a "follow" type of shot -- in which the camera seems to stalk or hunt. Not so much a POV shot but instead something that follows a person as they move through a scene or landscape. Let me know if anything comes to mind! Most likely would be steadicam, but also looking into Movi or handheld. Thank you!
  9. Selling ZACUTO Camera Accessories. All in excellent condition and fully functional. Can sell as a package discount price or individually. 1x Universal Baseplate V3 - $250 (incl. two 8" 15mm rods, two 4.5" 15mm rods & two Male Zouplers) 1x Z-Riser - $140 1x Zgrips Handheld Grips (pair) - $385 1x Z-mount - $75 1x Zicro mount - $35 1x Zamerican Monitor Noga-type Arm (large) - $120 Full Package discount price: $950 obo Items located in Los Angeles, CA but can ship anywhere at buyer's expense.
  10. Hi, I will soon be shooting a handheld chase scene at night on the RED Epic. One of the shots involves tracking backward, while staying relatively close on the actor's face as he runs forward (35mm, possibly even 50mm lens). The scene happens on a street and I have a flatbed dolly with pneumatic wheels available, so this could be used as a platform to stand on while shooting handheld. But, I am worried about balance on a moving dolly, over relatively uneven terrain and no tracks. The dolly does have a bazooka riser and base, but if I lock the camera into the bowl, will it still look handheld, or just like a bumpy track?
  11. Hey I'm Xoaher currently based in Prague. This is my reel from last year school works. Please feel free to critic and let me know how can I improve. Thank you Xoaher https://vimeo.com/141572957
  12. Hi guys, i'm going to shoot music video, the big part of it is in House, my camera settings should be 800asa 2.0 f 120 fps with 1/240 shutter speed and 800asa 4.0 f 24 fps with 1/48 shutter, it will be handheld. My question is: Can i pre light it for both settings, so i can just change settings of the camera in the middle of shooting from 120fps to 24fps and back? Flickering for me is fine but not so much. This is the reference for flickr and lighting https://www.youtube.com/watch?v=j0DvjgagJko https://youtu.be/lXYq9ImJIN8?t=1m22s https://youtu.be/ZXBcwyMUrcU?t=1m24s
  13. So, I finally got hold of a Beaulieu 4008 ZM II for a friend's production but despite working perfectly, being pristine, with a crystal clear Schneider Kreuznach 1.8 / 6-66 zoom and even a working rechargeable battery... I DON'T LIKE USING IT! The main problem is that I adore shooting Super 8 handheld and I just don't feel comfortable holding the 4008, as I struggle to get a good grip on the tiny handle. It works like a dream and is nice to operate in many ways but I feel like I'm almost balancing the camera uncomfortably on my hands rather than actually holding it whilst shooting. I know a few fellow Film-makers who adore the 4008 but I literally can't get to grips with it! Should I possibly add a larger grip underneath? Attempt to clutch hold of the camera differently? Or simply consign it to a tripod? Or am I doing something wrong? This beautiful piece of kit doesn't feel as instinctive to use in my own (not that large) hands. :unsure:
  14. Remember the good ol' days when dogs didn't know how to talk? I sure do. Ziggy here learned how to talk and now he goes around acting like he owns the place. Cats may be the most evil creature out there but damn one of these days dogs are gonna rip everyones face off. http://www.youtube.com/watch?v=VAEWpg32Oy4 My Channel: http://www.youtube.com/user/cleanupbigfoot23?feature=watch
  15. Hi, I'm working on a short film. All the action takes place during the night. There's several car scene in this movie. The director want a "raw documentary style": natural lightning, no tripod, handheld camera etc... In the car scene, 2 actors are sitting in the front seats, they are talking to each other. The director wants to be able to shoot handheld in front of them. For reference, he shows me a scene from Nicolas Winding Refn's film: "Pusher" (16mm) I don't know exactly how to achieve this kind of shot. Do you have an idea? I was thinking about "cheating" the actors position in the middle seats of bigger car (7 places) and shoot from the front place. The actors would pretend to drive but the car would be driven by another car (camera car or something else) What is your opinion? Any advice is welcome :) Thanks! Laurent
  16. Hello everyone! This is my first post! Nice to meet you all! I am wondering if anyone has any advice/tips regarding handheld operation. The setup I will be using is the Red One - luckily with the Bomb EVF - and Ziess Compact Prime CP2 lenses. I will also be using a ET Mantis shoulder mount. Attached is the setup thus far - any tips regarding operation, balancing, or handheld in general would be greatly appreciated. All the best!
  17. Hello there, i´ve just been to "Take This Waltz" and am still wondering how they made this minor, very subtle camera shaking, which is present all trough the film. It doesnt look handheld at all, its not a 2D shaking added in postproduction, which is what i thought first, it rather looks like stable steadicam shots with a fixed framing - but i can´t imagine that they operate a whole movie with so many dialogues that way. Any way it helps a lot to make a digitally shot and screened film to look more organic. To get the same effect: Did you try to add a a slight image shaking to digitally shot material in post, like the natural image unsteadiness film has? Thanks, Jonas
  18. go to link below for T. Anthony Gharzouzi's Demo reel http://tarekimages.com/reel.html
  19. Does anyone have any good stretches or methods to aleve back pain/knots/discomfort that comes hand in hand with long days of handheld operating?
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