The low profile RF Cine RT Ultrasonic BASE SENSOR operates as both a rangefinder (14 degrees field of view/40' adjustable range) and a receiver for tracking Cine RT BUG ultrasonic Transmitters (140 degrees field of view/125' max range). The BASE mounts easily on the camera by several mounting block options. Designed to minimise camera build weight and clutter. The datas can be sent to Preston, WCU-4, CMotion (via LCube). Contact us for more information _______________________________________ L'Ultrasonic BASE SENSOR sans fil (RF) fonctionne à la fois comme télémètre (14 degrés de champ de vision/distance max 40', ajustable) et comme récepteur pour traquer le Cine RT BUG Ultrasonic Transmetteur (140 degrés de champ de vision/distance max 125'). La BASE se fixe facilement sur la camera par plusieurs options de blocs de fixations différents. Conçu pour minimiser l'encombrement et le poids sur la camera. Les données peuvent être envoyées aux systèmes Preston, WCU-4 et CMotion (via LCube) _______________________________________ ☎️Contactez nous pour plus d'informations
Here's one example of a drone powered via a ground-based tether. This technology is relatively new, but has already seen adoption by news shooters. Pay attention the next time there's a natural disaster, or hostage situation on the news. If you see what looks like a static low-altitude aerial perspective that stays on screen, there's a good chance it's a tethered drone. This makes a lot of sense for news and documentary work. But this footage shows how with a tether projected safely beneath the drone, you can execute normal (but slower) moves within a 300 foot radius. I think this could be extremely useful for productions utilizing drones for take after take of coverage. With a tether and a good camera, a drone could be quickly put in the air to do crane-like shots with a fraction of the setup time, and do so in terrain completely inaccessible to a large gear load-out.
10 1399 hours ago
JW3 - May 17 - Yessss
3 4110 hours ago
Balancing my personal life and social media has been something that I’ve struggled with. I love taking my camera everywhere and creating new content, but I have to remember to live in moment. 🎥✨ What’s something that you’re struggling with? (Tag a friend who’s amazing with their 📸🎥)
29 45710 hours ago
Atomos Ninja V 📽️📸 | 🏷️: Php 43,590 SRP
***World First**** Atomos unveils Apple ProRes RAW recording solution compatible with Nikon Z 7 and Z 6 full-frame mirrorless cameras at CES 2019
2019 is all about taking content creation to the next level. Video makers everywhere are looking to add that elusive cinematic quality to their work, whether that be on social media, YouTube or on TV. To answer those needs, Atomos today unveils the next revolution in digital imaging - RAW video output and capture from Nikon’s full frame mirrorless cameras. The Nikon Z 7 and Z 6 full-frame mirrorless cameras will work together with the Atomos Ninja V 4K HDR monitor/recorder to record Apple’s ProRes RAW video format.
The upcoming feature will be on display in the Nikon booth ( #14006) during the CES® 2019 show.
Capturing Apple ProRes RAW video with the Ninja V unlocks complete control of the video image at the highest quality possible. The maximum dynamic range, color accuracy and detail is preserved, while at the same time every aspect of the video image can be controlled with precision for maximum creativity. Colors can be easily matched and the extra information means footage can be easily be manipulated in post-production, which is especially useful for grading and VFX shots.
Atomos and Nikon Inc. (Melville, NY) are offering video creators the new Z 6 Filmmaker’s kit too – also announced at CES. The full-frame Nikon Z 6 camera is the video production powerhouse at the center of the kit. Paired with the Atomos Ninja V monitor/recorder and other accessories, it has everything required for professional video shooting and beautiful photographs. The combination can currently shoot brilliant full-frame video in 10-bit 422 ProRes and DNx professional video formats, with ProRes RAW to be added.
More than anything else it is battery life holding drones back from their full potential. For every pound of camera weight, you must also add battery weight to maintain flight time. For every increase in drone thrust, you must add battery weight to maintain flight time. The battery is the choke point. The result of this is that every impressive new drone feature has an asterisk. 30 miles an hour? -14 minutes of flight time. 6k camera that can accept filters? -17 minute flight time. Many drone operators will shrug and say "That's why I have six batteries." Sure, if you're running 10-15 minute takes that's tolerable. But in this video by @sp0_ok we see what shooters are reaching for. This isn't the first dronelapse I've posted, but it is one I wish had been given more time to execute. The currents in this Norwegian Straight are particularly fast, which is what makes this such a cool capture. This is only around ten or fifteen minutes though. With an hour battery life far more could be revealed by the power of timelapse. The current record holder for battery life (for drones under 20 pounds) is two hours. I'll write more about that in another post. - What's really necessary is the pursuit of two opposite ways to solve the battery problem. The first is better batteries. Better batteries will make the world a better place for many reasons. But until the diminishing returns of small improvements to conventional drones set-in (like iPhone fatigue has started to), there will be no incentive for the likes of DJI to invest more in battery R&D. The second approach is more tethered drones. These are drones with a long power cord feeding them juice indefinitely. Some systems already exist, but it is an under-exploited technology. It obviously has huge limitations. But, I can imagine many shots with minimal x or y-axis movement where a tether could totally work.
This shot is a classic question of "what is the RIGHT way?" There is a cliche in engineering that goes "Anyone can build a bridge that stands, but it takes an engineer to build a bridge that barely stands." What this means, is that it's easy to overbuild, but often overbuilding means not building at all. Overbuilding takes too much time, money and will. Great design is innovation around limitation. So what then is a shittyrig and what is an intelligent corner cutting? This video I'm reposting from @filmcrewmagazine is a good example of high quality corner cutting. The "right" way to do this would have been a crane on wheels. But if you need to execute a 30 second shot, don't let yourself build for 3 hours. A rig that -just- works is better than an overbuilt rig that forces you to cut other shots. One shot almost never makes a movie. And the shots that do define movies, (like bullet time in The Matrix, or the car oner in Children of Men) those shots take far longer than 3 hours. So be pragmatic. Save time and money where you can by knowing how to cut corners. By being pragmatic you can protect the shots that really matter, the shots that write you into the history books.
First Man was one of my favorite films of 2018. I found it very moving and it contains some of the most effective handheld cinematography I've ever seen. So I was pretty happy to bump into some BTS footage on YouTube today. BTS of the lander crash scene is already circulating IG, but what I want to post is some that reveals their use of front projection. One of the most effective tricks used in the film was to light with bounce light from huge screens. This means amid the grainy darkness are all these rich glowing reflections of Earth's atmosphere. The helmet visor and Gosling's eyes become reflectors for the projection. This is the most realistic way to light such a close up. Because the camera is looking away from the projection, you're not fighting it as a light source. The end result is a lighting quality that's almost a perfect replica of the real location. There are two weaknesses to lighting from a projection or LED screen. The first, is that when you want to turn around to use the projection as a background, you have to rebuild your lighting. You have to use conventional lights several stops brighter than the projection. The second limitation is that it's not really possible to create extremely hard and bright point lighting from a projection. You can replicate any type of soft light but if you want a blast of hard light (like a sunrise) you need to supplement with a conventional source. If you look closely in the BTS you can see a small hard light being boomed around outside the cockpit. This acted as the sun source to fill in this deficit. Front projection and LED matrix projection offer some great results if you have the time and money, despite a few major limitations.
Cranes, technocranes, accordian cranes, cranes on dollies, gimbals, steadicams, roller blades, wheelchairs: these are all ways to get clean push-in shots. But you know what? A lot of modern push-in shots are done on normal dolly tracks, and the whole thing is just fixed in post. In this VFX breakdown by Nordisk Films there are some great examples of dolly removal from Only God Forgives. The technique is simple, if a little time consuming. The DP or vfx supervisor will take a series of stills at the same focal length as is intended for the dolly shot. If there's enough time, several stills will be taken down the length of the floor where the track is to be set. These still images are used to create a clean floor plate. Using a workflow easily deployed in a program like After Effects, the dolly track is cut out, and the composite floor plate is superimposed. I have personally used a version of this technique several times. If you need to push-in on a static subject it's actually a very convenient way to do it. The technique becomes harder if you want to pan or tilt as you push-in. So keep it simple with the camera and you'll keep it simple in post.
30 18093 days ago
I don't believe the gimbal and steadicam should be seen as direct competitors. What this excellent BTS by @heavymetalgrips demonstrates is that a gimbal is best used as a preemptive stage of stabilization. This means between the camera, and other larger platforms. A gimbal on a steadicam, or a gimbal on a readyrig, or a gimbal on a crane: these are the truly finished rigs. Two things have confused this. The first is that gimbals have been marketed as replacements for these older platforms. Gimbals have become very cheap thanks to DJI and other Chinese firms. Many generalist shooters also don't want to invest the extra money and practice into a multi platform stabilization rig. They want a one size fits all approach, and the gimbal marketing is more than happy to oblige.
The second issue is technical. Gimbals have awkward form factors. They can be difficult to actually mount on other platforms. In this way gimbal technology is still somewhat immature. The meteroric rise of the one-handed gimbal demonstrates the desire for a streamlined form factor. But very soon we will indeed start seeing the industry-wide adoption of gimbals as intermediary stage. It's already happened at the highest professional levels. Soon I anticipate a cheaper kind of readyrig-like product will fully popularize the compound stabilizer approach, all the way down to the amateur level.
A monorail system like in this video by @rigwheels fits in a niche between sliders and full dolly track setups. A single aluminum or carbon fiber tube is far lighter and more maneuverable than a conventional slider of the same size. It is also easier to mount and remount a monorail system by using sandbagged C-stands as anchors. For medium length lateral tracking shots, a monorail will probably save you time vs a slider or full dolly. The apparent disadvantage of being mounted from above the camera isn't as significant as it appears. You can still tilt up as far as your gimbal will allow. With a lightweight setup monorails can be made surprisingly long. Carbon fiber is an incredibly strong, lightweight and stiff material. By using joining pieces that connect the tubes from the inside, it's possible to extend monorail systems out to as much as twenty feet. This isn't advisable for a thirty pound cinema setup, but it's very doable with a light gimbal flying a mirrorless. I'm interested in exploring monorail setups more myself.
14 27974 days ago
Filmmaker @bechasketch | “Sorry, not sorry 🤷♂️ knocked out a quick video inspired by @jakobowens. Filmed at 30 frames a second and interpreted at 23.976, for that smooth cinematic effect.
Using the @aputuretech 120d and a C stand with a. Black backdrop 💪
The beauty of 4K is that you can use the same clip as for different cameras focusing on different parts.
Big shouts to @franchise97 for coming over and getting this done within two or three hours. Shot and edited @bechasketch “
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