Back in August Bruce traveled to a farm in upstate New York to work with Stephen Colbert and the fabulous team at The Colbert Report as Stephen continued his series called Stephen Colbert's Fallback Position.
The result from this particular piece was that Stephen was called to be a special witness before Congress today. Bruce and Gonzalo are covering it live, again with HDX900s, for a piece that will air in the near future on The Colbert Report.
Here are some behind the scenes photos from the shoot on the farm:
The Cube is made by a company called Teradek and, as the title of this post says, it allows for wireless monitoring of audio and video from any camera with an HD-SDI out to a laptop, iPhone or iPad via WiFi. There is an HDMI version as well but we picked up the HD-SDI version as we're more excited about the possibilities of using the Cube with the majority of our HD cameras.
The biggest question when setting up a new piece of production gear is always, "how easy is this to do on set?" As with any piece of gear it's something you SHOULDN'T be setting up or playing with for the first time on location. However, it's pretty easy to do and doesn't require a member of the Geek Squad or a 12 year old Japanese schoolgirl. The Cube itself is a piece of cake, power it up, feed it video over HD-SDI, connect the antenna and you're done. Now you need to set up your laptop and, conveniently, there's a video to help you:
You will need to download some freeware called VLC, which you'll use to view the video stream. Once you have that downloaded and installed there's another video to watch that will show you how the final steps to watch the video coming from your camera:
That's it. Seriously.
We've tested the Cube on our cameras here at Visual Edge and can tell you that it works flawlessly on the Sony F900R CineAlta, the XDCAM F800, the HDW-730 and the EX3 as well as Panasonic's Varicam, HDX900 and HPX2000 in all resolutions and at all frame rates.
There is a slight delay in the feed to a laptop, which we've timed as right around 0.5 seconds. The delay to an iPhone was more fluid and less workable, timing out at somewhere between 4 -13 seconds. The good folks at Teradek are aware of this and are working on resolving the issue, which is rooted in Apple's devices.
The possibilities are quite staggering. Producer can't make the interview due to a last minute flight cancellation? Stream the feed straight to them and they can see what you're shooting over the internet. Marketing companies can stream events out live to an audience or a news organization can get footage to the studio and on the air without a truck. Record the stream onto your laptop and the producer can walk with high quality video files to review on the train home and prep for the edit. Or, at it's most basic level, have the producer sitting comfortably with their laptop open watching what you shoot while you wander around grabbing shots.
I may well be in love. Give us a call to give it a test drive and you may well be, too.
Yes, you should be clicking on the link above. We've overhauled the site and added some new features. There are operating manuals for all the cameras online, ready for download. Our Video page features some of the work we've been doing and our Tips & Tricks page is back with, well, you get the idea.
So, what will become of this site? We're going to keep it updated but our main online focus will be over at the new www.visualedge.tv.
One of the big issues with DSLRs is monitoring and the 5DMkII is especially awkward. Not only do you have to deal with HDMI, which can be a pain to split, you also have to deal with the signal dropping to 480p when you hit record. We bought the AJA HA5 thinking that we’d be able to send HD-SDI to our Panasonic HD-LCD monitors only to find that the device can’t handle 480p and, after talking to AJA at NAB, it doesn’t sound like this is an issue that can be resolved via a firmware update. That leaves the unit from BlackMagic as the only option.
Until yesterday. Ladies and gentlemen, the HDFury2:
The HDFury2 takes the HDMI ouput from the Canon 5DMkII and converts it, while keeping all the high def goodness, to a component HD signal. That can then be split out, using T-Adapters available at Radioshack, and the signal can then be sent to 2 monitors, one for the DP and one for the client/director. The HDFury2 comes with a power supply but I diodn’t have any issues at all not powering the unit — instead, it took power over the HDMI connection. That might drain your batteries, though, so make sure you have spares or a charging station.
The HDFury2 works with both the 5DMkII and the 7D so it should work with the 1DMkIV although I don’t have access to one to test that out. Another nice feature of the HDFury2 is the ability to monitor audio, either analog or digital optical — there’s a multi-port on the bottom of the unit that allows for either a 3.5mm jack to be plugged in or a Toslink cable. Finally, the unit can be switched between RGB or YUV, so you’ve got all the options you could ever want.
Is this is solution to monitoring? Probably not. One thing I learned at NAB is that there are a TON of manufacturers working on DSLR solutions to there will probably be something bigger, better and more ready for the field in the future. But for $200? I haven’t seen anything else like it.
You can buy the HDFury2 from Curt Palme. The version we bought was the GREEN kit, although we actually don’t need the 5 BNC cable that comes with it as the regular RGB cable it comes with is all we’re using. You’ll then need some T-Adapters and RCA:BNC adapters. All in, you should be dropping about $220 for the ability to monitor the video from your Canon DSLR to two professional monitors.
On Wednesday, April 7, Bruce and Chris headed out on a shoot for a client to capture footage of three statues in Washington, DC. The client had requested the Canon 5DMkII as the camera for the project and we shot in 24p, taking advantage of the recent firmware update from Canon. We took a decent number of lenses with us and a new toy, picked up the client at Union Station in DC and then headed out to start the day.
The problem most people are aware of with the 5D is it’s inability to deliver an HD signal via it’s HDMI output when recording begins. As such, we chose to simply take the standard def output from the camera and fed that into a Panasonic BT-LH900 HD monitor — the Hoodman was an absolute must have with the sun beating down on us! The monitor also allowed our client to see what we were shooting and offer input so that they got exactly what they wanted.
We were also playing with a new toy — the 3′ Shot Shifter from Bright Devices. It’s a slider dolly that utilizes your tripod as the base and then your fluid head screws into the bowl adapter on top. Regular light stands are then used as support under the ends, allowing for a smooth move all the way through. Quite bluntly, this was THE tool for the job. It allowed us to get moves on the statues we were shooting without the time and hassle of setting up dolly and track and also gave us a much smaller footprint which, in downtown DC, is absolutely key. And although we were using it with a DSLR, the Shot Shifter is rated for larger cameras so can be used with a Varicam, CineAlta, or any 2/3″ system. Brilliant. There’s also a 22″ version for interviews, allowing the operator to perform subtle moves with the interview subject, and the mondo 5′ version.
Here’s the complete list of the gear that we used on the shoot:
Canon L-series 16-35mm 2.8 – a fantastic wide lens.
Nikon 85mm 1.4 – one of our cine-modified primes from RP Lenses.
Nikon 135mm 2.0 – again, cine-modified from RP Lenses.
Nikon 70-200mm 2.8 – we borrowed this lens for the shoot and we’re still dreaming about it, just gorgeous.
Zacuto Z-Finder, follow focus, DSLR plate, Z-American arm and lens gears – there isn’t anyone making better quality accessories out there at this time and the Z-Finder is essential. Again: ESSENTIAL.
Chrosziel 5×5 mattebox with the Zacuto flexible donut – shooting in the sun with a fast lens and camera made it imperative for ND filters in front of the glass, along with the requisite Polarizer.
LightCraft Fader ND – screws right on the front of the 50mm lens and allows for very easy adjustments to the amount of ND filtration you need.
The shoot was a success, the client left happy and we sent them a hard drive with all the raw footage via FedEx the next day, after we brought it back to Visual Edge and made a back up copy.
The emergence of DSLR film-making has really been a stunning development in this industry and we’re thrilled to be a part of it. For more information feel free to give us a call at 301/530-8210 or email us at info@visualedge.tv
Back in December, right after Christmas, Bruce and Michael flew out to Utah to shoot a segment for the Colbert Report -- Stephen challenging Olympic speedskater Shani Davis to a race. After he got some basic training on, well, how to speedskate:
The piece was shot with two Panasonic Varicams, with one outfitted with the Letus Ultimate and B4 Relay Lens. WE also had with us our Matthews Doorway Dolly and Long Valley Seven jib. The background was painstakingly built by Bruce by cutting out the squares from large piece of foamcore and then attaching sheets of Opal. Finally, we had a flicker generator and a smoke machine for effect.
Big thanks to ESPN for having us be part of a really fun shoot and thanks also to the folks at the Baltimore Ravens for being so generous with their time, especially Terrell Suggs who was a blast to work with.
Embedded below (original page here) is a video that Bruce shot for the Department of Justice:
The interviews were shot with the Panasonic HPX2000, Letus Ultimate with B4 Relay lens and our Nikon primes. Much of the b-roll was shot using our Fujinon 13x4.5. We shot AVC-Intra 100 in 1080/30, transferred to a Lacie Rugged drive on location and handed the footage off to the client. They actually cut a few spots out of the two days of shooting:
Hope you enjoyed the pieces -- if you're interested in renting any of the gear mentioned please do click on over to www.visualedge.tv.
Back in the first quarter of 2009 I was on record as calling Twitter "the most egotistical thing ever invented." 140 characters to spew forth whatever was on your mind? No chance, I thought, this is a fad and a particularly stupid one at that. At a New Year's Eve party I said to someone that I thought Twitter was the biggest game-changer of the year and an invaluable resource. So, yeah, I've reversed my position somewhat.
Quite bluntly, if you're not on Twitter you're playing catch-up and in an industry whose tools are becoming computers with lenses that's a disastrous place to be. Twitter has become a breaking news feed with the added bonus of commentary from people active in the field: the contextualization of the information elevates it.
However, there is another aspect to Twitter that might be overlooked. The sharing of information, expertise and experience is something that I've never really experienced before in this industry. Don't get me wrong, I've learned a lot from others but the free-flowing information on Twitter and the willingness to share has blown me away. Twitter appears to have attracted a group of people who not only enjoy their work but are excited by the possibilities of the tools they have and that excitement spills over.
Paranoia and competitiveness has always been a part of the film/video industry, be it over clients, techniques or even equipment. There is a small pool of people that are up for every job and considering that rates are always negotiable (must be nice to be a plumber and know that the rate is the rate -- apart from that whole clogged toilet thing...) I know that everyone has lost a job because someone came in $50 under your quote or agreed to a 12-hour day with no OT. With production budgets getting slashed loyalty from your clients is a luxury these days and I've talked to many people who don't really have regular clients any more, it's a revolving door of jobs. Which makes the people who discuss, evaluate and share information on Twitter all the more remarkable. They're discussing the tricks of the trade, the same tricks that get them paid, keep a roof over their heads and have earned them the reputations they have. AT NO COST!
Now, I'm not going to be naive, Twitter is a powerful marketing tool and I'm sure that many of the people active on Twitter have, at the very least, received a phone call from an interested potential client. However, the sense of community that is being engendered is heartening. In a given day I know what people are up to in Bavaria, Buffalo, England, New Zealand, Toronto, Boston, Washington, DC... I know what cameras they used, what accessories they had with them, what worked, what didn't, what they wished they'd had on set in addition to what the temperature was and if they got a meal break. And if I'm intrigued by something mentioned? Send a message, get an answer -- build a relationship.
While the value of Twitter has surprised me what has been a bigger thrill has been a newfound sense of enthusiasm for the industry of which I'm a part. It's easy to get jaded dealing with rookie producers, cheap production companies and renters who don't know that there's more than one camera with '900' in it's name. Hearing from people from around the world who still think this business is cool (which is what we all thought working in film and TV was when we were young) is invigorating and, bluntly, it's made me better at my job.
So, without further ado, some shout-outs to the folks out there on Twitter that make it a fun place to be:
www.twitter.com/philipbloom Not sure if you need an introduction to Mr. Bloom, he's become something of a web celebrity in addition to being a fine DP. Answers questions, reviews gear, hangs out with the folks from LucasFilm occasionally...oh, and he's English, which immediately gives him a leg up on everyone else.
www.twitter.com/tomguilmette As of this writing Tom is off on a mountain somewhere doing something epic with timelapse. Or he might be mountain biking. Difficult to tell with him but he's probably cold either way. Tom gives great insights into different types of production and, like Philip, is happy to share tips and techniques.
www.twitter.com/rodneykiwi Yes, he's the DP for 24 and I'm a 24 nerd but his feed is not just a look behind the show for fans. Instead, Rodney Charters seems to be as big a geek about new production toys as we all are even though he gets to play with the BIG toys on a daily basis. Great to follow.
www.twitter.com/timescapes Tom Lowe put a video on Vimeo that has literally stopped everyone that I've shown it to in their tracks:
Now, click through to watch that in HD and then follow Tom on Twitter.
www.twitter.com/vincentlaforet Vincent Laforet has won a Pulitzer Prize for photography. That should be a good enough reason to follow him but he's also the chap who really made people sit up and pay attention to the possibilities of DSLRs for film-making.
www.twitter.com/tylerginter That would be 1st Lt. Tyler Ginter, 55th Combat Camera, US Army. This is a man who tested out a 1DMkIV while he was preparing to jump out of an airplane.
This is a really small sampling, obviously, but it's a good place to start for those in film & video. The fun of Twitter is following the conversations and then following the people who are discussing what you enjoy. Pretty soon, there's a community of people in your feed and, as I said at the beginning, it's a community that's expanding. Hopefully you'll find it as valuable as I do.
