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Found 15 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. Hi all! I’m DPing a short road trip film next year that takes primarily in a car in the desert. I have some experience shooting in a car before, but would love any advice, input, or words of wisdom that you all may have in regards to doing it right and/or better. Moreover, if any of you have any car scenes from any film or show in mind, I’d love to hear them so I can study them as a reference. This is a low budget indie short film, so any advice on car rigging on a budget is much appreciated. I’m primarily looking at the Blackmagic Micro Cinema Camera as our main camera as it can easily mount to the hood and doors with a standard suction mount, and it's small enough to mount inside the car for various creative angles. In conclusion, I would just love to hear about your experiences shooting in a car, rigging cameras inside/outside a car, and any wisdom you might’ve learned through the process that you wouldn’t mind sharing. Thank you all in advance! All the best, Dante
  3. SORRY - misspelled Tripod in the Title line... I have a Bolex style quick release on a rig ready tripod mount. My question for all you camera guys: How should this mount on a tripod? From the top downward or use the tripod's screw and attach from the bottom?? I've seen it done both ways... But what do you prefer??? Thanks for your help Arthur
  4. Looking for a solution - need a rotating lighting rig to simulate the movement of light on a stationary vehicle. Trying to simulate a train passing through darkness and shade. Any suggestion other than having someone Hollywood the unit or flag.
  5. Hello all, About three years ago, I built a computer to do lower-end editing with Premiere and AfterFX. Most of the projects were geared towards my high school AV class, so nothing more than 5 or so minute works with 1080p project files and H.264 codecs. Today, I'm still using the same project files, but I am editing much larger-scale works (15+ minute works, plus incorporating DaVinci Resolve into my workflow). With my most recent project, I have just color graded via Resolve, and I am finding a lot of difficulty in just opening the Premiere file now. Premiere itself crashes quite frequently, there are times when I open the project file and some of the color graded media is "offline" (when it typically isn't), and I have a hard time rendering this footage for preview (due to Premiere constantly crashing). My workflow is this: Import footage into Premiere, match audio & cut it together -> export XML file -> import XML file of Premiere sequence into DaVinci, color grade the shots -> export H.264 file out of DaVinci, import each shot and replace it's counterpart in Premiere in order to begin sound design Here are the specs for my computer: OS: WIndows 7, 64-bit RAM: 8gb CPU: Intel Core i5 4670K Graphics: NVIDIA GeForce GTX 660 So my question is, is this a hardware issue, or something in my workflow?
  6. Hi, I've been assigned to shoot and direct and documentary in Nepal in two months time and I'm looking to gear up for the shoot. The project is a low budget / indie documentary for which I thought to get the Sony A7s ii for the job for its low light conditions as most likely I'd use very little available lights. I own a Blackmagic 4K ef mount which I plan to sell as I find it to bulky and heavy for the job and not great on low light. I am currently looking for lenses, and understanding more about the different type of glass. I'm looking for recommendations I want to achieve a filmic / cinematic look, nice aesthetics, soft nice skin tone and color rendition rather than sharp HD video and I have a very little budget to cover the whole rig. I even thought of old film slr lenses to give me a softer look but I am scared of vignetting of which would be best to go for. The documentary will be 30 mins highly visual, poetic biopic rather than talking heads, so any help on the choice of lense would be great . I currently own Nikon prime DX 50, 85 mm 1.4 lenses but don't think they're good enough or if it'd vignet. I'm not super technical so any advice on this would really help, many thanks.
  7. NAB 2015, Booth #C6025 Universal Hand-Held Support Rig Offers Flexibility Needed for Accessorized Digital Cinematography BURBANK, Calif. (April 6, 2015) - OConnor, a Vitec Group brand and premier provider of fluid heads, tripods and camera accessories for film and television production, will unveil its new O-Rig 15mm Rod Support System at NAB 2015. The versatile, hand-held support rig is perfectly suited to the a la carte configurations of today's accessorized digital cinematography. The O-Rig is designed to work with any camera/lens combination in 15mm LWS (Light Weight Support) configuration, including the latest offerings from Sony, Canon, Nikon, ARRI, AJA, JVC, Panasonic, Vision Research and RED. OConnor will showcase the newest addition to its award-winning lineup of camera supports and accessories at their NAB exhibit (Booth #C6025) in Las Vegas, which runs April 13-16. OConnor's O-Rig is camera and lens agnostic, providing cinematographers maximum flexibility. Its new, proprietary universal baseplate enables quick and easy camera and lens changes. A height adaptor offers cover for all camera bodies, providing rotation of wide-angle filters, and increasing the lens coverage of OConnor's O-Focus follow focus unit. Uniquely crafted to deliver superior ergonomic performance, the O-Rig also allows users to effortlessly move from shoulder mount to tripod and back again. "Whether our users need to bolt an increasing amount of equipment to their camera or they're looking to maximize their rig for as many configurations as possible, the O-Rig can support them," said Steven Turner, Product Manager for OConnor. "All of OConnor's products are engineered to meet the demands of today's challenging camera work, and now, more than ever, flexibility is key. We believe cinematographers, operators, and rental facilities will be pleased to have such a robust and durable solution from a trusted brand." The O-Rig system is housed in a robust Storm Case, fitted with custom-cut, high-density foam. Each kit includes: an award-winning O-Grips handgrip system; an infinitely adjustable offset adaptor, which allows users to easily reposition camera viewfinders and provides comfort adjustments for shoulder pads; and a shoulder pad with hand-stitched leather construction and aluminum detailing, giving versatile positioning of rods through pad for optimizing counterweight, camera balancing, and body ergonomics. Individual elements within the O-Rig kit will also be available, and are compatible with other 15mm LWS accessories. While the new O-Rig system delivers robust quality and ease of use, it was also designed with an eye towards the future. "The O-Rig is the definition of future proofing," added Turner. "As camera technology continues to evolve rapidly, cinematographers and operators cannot be locked in. They need adaptable solutions that allow them to change and grow, and the O-Rig delivers that versatility without comprising performance." The O-Rig 15mm Rod Support System will be available worldwide in May. Customized shoulder rig packages, designed to support specific cameras, can be assembled upon request. For more information, visit OConnor at www.ocon.com.
  8. Hey, I recently bought a Canon C100 and I'm looking for a new shoulder rig for it, looking to mount a V lock battery on it, obviously the camera and follow focus etc, just the normal things really. Does anyone have any advice on what i brand or type of rig to buy and maybe any experience with buying rigs, this is the first one i have bought. Cheers Gabe
  9. Hello. Would like to get some feedback on good/affordable gears for 16mm film lenses, mostly for BMPCC. I own a BMPCC , Schneider and Kern Primes. Looking for : => A good CAGE I own this: http://www.ebay.co.uk/itm/BMPC-Cage-Top-Handle-Grip-15mm-BMPCC-for-Blackmagic-Pocket-Camera-support-system-/261534271701?pt=UK_Photography_Movie_Camera_Accessories&hash=item3ce4a848d5 , which scratches the body a bit when in and out, too heavy and annoying to do Steadicam work. Thinking to get the Varavon (http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=261398476332&fromMakeTrack=true&ssPageName=VIP:watchlink:top:en) as Tilta is quite pricey although people say it's great, I never tried. THe good on the Varavon seem is that it looks light as per designs, but sill the Clamp is too high so in the Steadicam is hard to balance, so I might use one in my shoulder rigs that might be 2/3 of the height. I'm looking for a good one that is practical and fits well, if any other suggestion please let me know. => Good adaptable RINGS for follow focus. Still couldn't find small than 50-60mm (like this 60mm: http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=281387086694&fromMakeTrack=true&ssPageName=VIP:watchlink:top:en) as the barrel of the kerns are ridiculously small (25mm wide). And I'm not sure if the 60mm would fit a Schneider barrel of 45mm for example. Any experience/Ideas of rings? Any other tips around BMPCC gear and accessories, just put in here. Thanks guys.
  10. A wooden shoulder rig same as the ergocine lion. If anybody would be interested to buy it (safely through paypal), send your offer as pm. I will soon put on ebay.. Standard 15mm rails front and back (front 12", back 6") 2 Ball handles and a trigger with connection ready for LANC remote Internal grooves for neat wiring 6 1/4" thread mounting points for accessories Shoulder cushion pads Mahogany finish Standard base-plate included The rig with attachments (minus Nikon D800) :
  11. Hi everyone. I'm not exactly a student or a new filmmaker, but I am closer to a new filmmaker, than a professional DP, so that's why I'm posting here. Apologies to moderators if it's in the wrong section. I'm filming a low budget car commercial for a small community tv channel and I am wondering what the best options are to film a moving car. I basically want to be able to make the most out of a little to no budget as possible, whether using guerilla style filmmaking or out the box ideas, I need some guidance. I want basically get multiple moving angles of a car driving on the road. My options so far are: Film the car out the window from another car. Use a pillow as a vibration/shake absorber while holding the camera on the door through the window opening. My angles and height are very restricted and I can only pan very slightly. Film the the car from the back of a pickup truck (in SA, we call these vans), with a little jib to get some dynamic movement, however while this option provides the most creative shot options, it could also provide me with, you know, death. So I'm not really considering this as an option, but if I found a way to safely set this up then I would do it. Film the car by sticking my camera out of the window and holding the top handle. I cannot hire a 3-axist gimbal to fit my FS700 in my city but I could use my Glidecam, however I don't have much confidence in this option. So you see, I am basically lost for options here. Every bts video I have seen of a car commercial has mind blowingly expensive rigs that are built into vehicles. I need some cheaper options. Thanks!
  12. Hi folks I'm shooting a short film in a few weeks and I'm figuring about a car scene with two actor having a dialog while driving, and how I should go about that. First of all, we don't have much of a budget, so a even though a car trailer would be the optimal choice, we can't afford it unfortunately. Any recommendations of how to shoot this? My initial idea was to shoot this infront of a green screen with tracking marks on set, to take advantage of the existing light. By doing so we could use a hand-held camera to add a sense of realism with the background moving (very slightly) in conjunction with the actors and the car. AFTER we've shot infront of the green screen, we go out and shoot the background plates, at the same camera position we used shooting the green screen shots. I believe this could work. Second idea is to shoot the whole scene in front of a rear projection screen. The problem with this I believe is to get a powerful enough projector and not destroying the black when lighting the actors. Also, lighting the car to blend in realistically would also be somewhat of a problem since we can't use any existing light. Third idea is to let the actors drive the car. By far the easiest way to go, but not the safest. Also, they have to be focused on driving the car, so their acting might suffer from that. Any ideas? I would appreciate it a lot! Regards Patrik
  13. (sorry for the repost but system won't let me edit or delete the other post and it erased most of the thread title) Selling a Brand new (still in boxes) never used Atom Aluminium 3-D Rigging kit ATOM™ FROM 3ALITY TECHNICA 3D RIG KIT (Element Technica) Kit includes: (Retail - $64,000) T3D-A1 Atom 3D Beamsplitter Camera Platform: -Integrated IO & C motors and electronics -Motion & Alignment Modules -THC-S - Technica Hand Controller Stereo, 3 axis -(T3D-C-MCB-P8) Technica 3D Motor Control Box Power Cable, 8' -(T3D-C-THC-C5) Technica Hand Controller Command Cable, 5' -Medium-Beamsplitter box -Pair of camera interfaces for Epic. Additional items included with sale: Pulsar Beamsplitter Eyebrow & Barndoor Kit (Retail - $1600) Technica 3D Atom Balance Plate Assembly, 12” (Retail - $1350) More info: http://www.3alitytec....Atom-Specs.pdf Atom Aluminum and additional item: (Retail - $66,950) Asking – $57,000 obo Please email inquiries to my assistant Deb at bigdreamsdeb@gmail.com Thanks! Scott Snare
  14. Hey folks, I'm looking to get some advice on car rigs. I'm starting a job in September that calls for tons of car shots so I'd like to see what are some of the best solutions out there. The show will be shot on a Sony f5 with Cooke primes, to give you an idea for weight and size. I was told that SSE Universal Car Mount is the best and easiest to work with. As I've never had any personal experience with it, I would like to get a second opinion before I take the plunge. Has anybody done a job with this rig and how good or bad is it? I was also looking at Mathews Car rigs, they seem quite good also. Any input from experienced grips would be greatly appreciated Roman
  15. I'm wondering what the cheapest set up would be for event coverage? I have dslr and lenses, but it is more in terms of rig, lighting and sound recording equipment (something that can be operated by one person). The camera provided is a 60D. Lighting and rig are most important.
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