Light and fast Rig for the canon 5d Mark II.
1 year ago
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2. Light and fast Rig for the canon 5d Mark II.
1 year ago
Hi everyone,
This is my 5d mark II setup for shooting a full feature film in low light condition (full night in a parking spot) without any light add ons. We will use only the refractions of the main street lamps with polystyrene.
We will shoot it from the 13 of august and it is called "Dies Irae - The wrath's day".
So, first, I needed fast primes to work at 1.2/1.8 aperture. To do so I chose:
- the Sigma 24mm macro 1.8, beautiful macro with creamy bokeh and the amazing possibility of shifting focus from an object at 3cm to infinity.
- the 35mm, 50mm, 85mm canon L series. Beautiful bokeh, really fast apertures.
Then, the rig:
My basic idea was to have a full setup that could fit in a backpack, was easy to mount, fast to change lens, usable by just one person, energy independent for 10 hours of shooting, comfortable and versatile.
For me the rig HAD to be a logic evolution of the 5d canon grip. So NO HANDLES, I wanted to keep the "still camera" grip with my 2 hands on the camera. So I could keep the "feel", speed and precision of the 5d in still mode, but with the stability of a shoulder rig.
In the next video I'll show you the audio setup I prepared for the shooting. Thanks for viewing!
If you have any ideas, questions or suggestions, please comment, I'll be thrilled to talk about it :)
Flavio
This is my 5d mark II setup for shooting a full feature film in low light condition (full night in a parking spot) without any light add ons. We will use only the refractions of the main street lamps with polystyrene.
We will shoot it from the 13 of august and it is called "Dies Irae - The wrath's day".
So, first, I needed fast primes to work at 1.2/1.8 aperture. To do so I chose:
- the Sigma 24mm macro 1.8, beautiful macro with creamy bokeh and the amazing possibility of shifting focus from an object at 3cm to infinity.
- the 35mm, 50mm, 85mm canon L series. Beautiful bokeh, really fast apertures.
Then, the rig:
My basic idea was to have a full setup that could fit in a backpack, was easy to mount, fast to change lens, usable by just one person, energy independent for 10 hours of shooting, comfortable and versatile.
For me the rig HAD to be a logic evolution of the 5d canon grip. So NO HANDLES, I wanted to keep the "still camera" grip with my 2 hands on the camera. So I could keep the "feel", speed and precision of the 5d in still mode, but with the stability of a shoulder rig.
In the next video I'll show you the audio setup I prepared for the shooting. Thanks for viewing!
If you have any ideas, questions or suggestions, please comment, I'll be thrilled to talk about it :)
Flavio
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mi incuriosisce conoscere il soggetto del film(a grandi linee).
un modo cosi libero e sperimentale di girare presupporebbe un film libero,fresco e fuori dai ristretti vincoli di molto cinema italiano.
condivido molte cose di quello che dici.questa camera va usata in base alle sue particolarità e non deformata ad un uso standard di videocamera.
in bocca al lupo.
ne avrai bisogno visto che hai deciso di girare a 1.8 di diaframma e controllare il fuoco con un monitor sd.
p.s.:tu sarai regista-operatore e dop?
sono curioso di vederlo finito.
ciao
Dunque il soggetto è una fusione tra "Aspettando Godot" e "l'odio". Cioè, è una tragedia di periferia con tratti di teatro esistenziale.
E' la storia di 3 ragazzi musicisti che si ritrovano tutte le notti, in un parcheggio di un supermercato di periferia. Erano un gruppo di 4 fino a quando il cantante, l'anima del gruppo, li ha lasciati senza un perchè.
Nel film assistiamo alla lenta disgregazione, notturna e gotica, del gruppo ormai devastato dal rancore e dall'odio, mentre in parallelo durante tutto il film, vediamo pezzi di flashback della giornata in cui tutto è cominciato, dove capiremo il motivo percui il cantante se ne è andato e il perchè dell'ira sottesa che si è scatenata nel gruppo.
Io sarò il regista. Sarò anche operatore insieme al direttore della fotografia.
Eh sì, è una sfida lavorare a 1.8. Ma il gioco vale la candela, e lo stile con il quale girerò dovrebbe giustificare anche la sfocatura.
Crepi il lupo!
chi è il tuo dop?
lo hai forzato tu ad usare la canon o è anche lui entusiasta?
scusa la domanda.
ciao
Dunque il dop lo fa Daniele Giuseppe Bornino, che ho conosciuto sul set di distretto di polizia, che sto girando ora.
Lui è entusista di lavorare con la 5d, anche se a naso mi sembra che mondo del cinema abbia molta paura delle hdslr (aspetta che arrivi la nuova nikon post d3s che lavora a 10.000 iso senza grana e vedi che succede...) lui invece ne ha capito le potenzialità.
Poi certo, la sfida qui è fare un lavoro quasi alla dogma, non utilizzando altre luci che quelle reali e le rifrazioni. Percui è una sfida per un direttore della fotografia, molto povera, ma interessante. E' da vedere se funzionerà, alla peggio un paio di led saranno lì in caso di bisogno. :D
Per me è fondamentale recuperare quella forma di lavoro che si ha nel teatro. Molto artigianato, pochi elementi affiatati, molto interesse per quello che succede in scena.
Il mio ragionamento anche se matematico, è chiaro e si può trasporre su un gruppo.
Se ho 2 elementi A e B, le possibili interazioni tra questi due elementi saranno 1*2=2: AB e BA.
Se ne ho 3 A B e C, saranno 1*2*3=6: ABC ACB CAB CBA BCA BAC.
Con quattro saranno 4! (1*2*3*4)= 24.
Ora pensa con una troupe di 10 elementi quante interazioni sono possibili... 10!=3.628.800
Ecco.. io non vorrei mai arrivare a questo numero. Tranne in rarissimi casi di produzioni che richiedono vari capireparto, ognuno con vari assistenti.
Per la mia poetica, preferisco essere tranquillo con gli attori, scrivere per raccontare storie, con tempi di preparazione diversi, con le prove, con le idee sul momento, dando molto spazio agli attore e al testo.
Sembrano parole al vento, ma non lo sono :)
Have you used any anamorphic lenses?
Here is the post
Thanks, I know, so many people wants to create an arri from an hdslr! It's like installing a mac os theme on windows vista :D
I haven't tried the anamorphic lenses, not yet. I actually never quite got into them. I've seen some footage and it looks amazing.
Maybe you could help me, what are the main differences between an anamorphic lens footage and a "normal" lens footage cropped in post production at 2.35?
I figured out that the anamorphic Bokeh is longer than wider, getting an "oval" style, right?
I really loved your video post and your whole approach to HDSLR filming. I have been going the opposite direction building up a larger rig to use on productions with more people, but I do really miss when I had just a Nikon d90, a couple of lenses, a strap round the neck and a diy stick that went in my trouser pocket. When you can do the whole process yourself you get a lot of control and ideas are quick to carry out. I'm really tempted by the telescopic pole and belt but would want to attach that to a 15mm rod setup, do you have any ideas? Also, what ISO will you be shooting your movie at? Have you seen neatvideo? I am shooting a feature film outdoors in August but on a 7d, and am very impressed with how neatvideo reduces noise.
I will shoot almost the movie with an aperture under 1.8 Good luck to your film!
For the 15mm rod, i guess it is doable, if you want i can send you precise picture of the rig details of the attackment of the telescopic pole.
I know, i'm used to huge rigs too. I shoot many feature film as an actor. But i truly think that it is time to change things in how movies are produced. With itunes, the internet, netflix, movies will have a much easier and wider distribution. We need to be fast, produce more, cut the cost and do more "coherent" works. And that mean only one thing: less compromise, more artistic decision :)
And the belt with the pod .
Thanks for sharing.
All the best in your feature film!
The belt with the pod is amazing if you want to keep a photographic grip :)
Yes I would very much like to see some pictures of the telescopic rod connector, that would be brilliant! My email address is samtwyman@live.co.uk. Yes you're right about the 7d only being really acceptable up to 1250 without noise reduction, I really envy the 5d for that sometimes!!! Glad you've seen Neatvideo, it can be very powerfull but when pushed hard gives images a 'plasticky' look that can very useful. I have since been trying to strip my rig down a bit. I also got a 669HB and I love it!, but for handheld stuff I've just ordered this cheap viewfinder from Germany: digifinder.de/DigiFinderpro/:::1_5.html for 50 Euros! I still want to use my follow focus (sgpro cinefocus) for handheld, but I am finding a better balance now of weight and functions.
Fantastico il Multi Rig di DVTEC ed il modo in cui ci spieghi come usarlo.
Anch'io ho l'ossessione di voler portare
tutto in uno zaino :-)
Volevo chiederti: il FF dell'iDC riesce ad evitare il tremolio quando lo usi su cavalletto? Oppure pensi sia adatto solo nella configurazione "in movimento"?
Grazie!
hddslrevolution.wordpress.com/
Tra oggi e domani posterò il video con il setup dell'audio, e poi farò dei test audio/video per far vedere le rese
Ciao :)
Thanks for your educational movies. I am a photographer and since 5D came out with the HD film capabilities I run and bought it. I always like to do some quality filming..... documentary style. I have heard a lot from many and telling us about 24fps and shutter speed 50th of a second and nd filters for getting good apertures and so on. Watching your film here I will like to ask did you also use the 50th of the second exposure or you are using anything else? Thanking you in advance Costas.
It's a usual, an instrument. I don't think there is a right or wrong way of using the shutter. In leger, i shot it on very high shutter with no ND filter. I think I was at 1/4000.
I love the sharpness mixed with the smooth and delicate picture :)
Lets say if I use 1/100 of the second I probably be more steady and sharp than 1/50 of the second shutter speed handheld with some rig help but that would not look like the eye use to see thinks? And as I go faster and faster that smooth look will be less and less. So 1/100 can be some how better than 1/200 shutter speed - just for the look, or I maybe wrong. You know every one is talking about 1/50 and 24fps and cinema look and I see no differents myself if I produce a faster film. I film the trampoline dreams with only 2 lenses the 50mm 1.4 at 1,4f and the 105/2 at f2 absolutely handheld and no rig and looks somehow okay. Speeds was according the lighting conditions but I am sure was very high.
Another think I wanted to ask you it is what is your settinngs at canon 5d i.e contrast, sharpness, saturation or you have a special look made for yourself, like Leger looks soft and a bit of vibrant and bright colour comes out of that film.
Thanking you in advance
Looking forward to see your film in August.
Costas
If you shoot at 1/200 of sec, then your running man will be, in every frame, very steady, with no blurring created by the movement. If you shoot the same sequence at 1/30 of seconds, every frame will have more blurring movement of the running man.
The final result is that the 1/100 of second clip will look very crisp but less fluid in the movement, it will go toward a seqeunce of still shots.
The 1/30 will look blurry, less crisp, but the movement of the runner will look very fluid.
For the settings, I think the 5d has to be set up as you want it during the set and not in post production, because the video file recorded isnot RAW, but already compressed and in 8 bit, it's better to look for what you need on set, more than after.
Of course, then in post production you can give it a bit of crunch with the levels, and maybe do some color correction. In leger I shot with the standard setup, and basically crunched the Luminance Levels and added a really soft white diffusion in post production.
Here I have my latest film vimeo.com/13510146 which I film it all the way with 1/50 of a second. Outside scenes at the bright sun I use ND filters and same 1/50 of the second. I am in the Pal 24fps and please let me know what you think?
I know that is absolutely different than what you done at Leger speed and aperture but I am learning so every commen from you is very good.
Thanking you in advance,
Costas
This is great stuff. Thanks.
Two questions:
1. Is that telescoping shock pole fluid enough (does it ever get stuck)? And is the resistance strong enough so that you aren't carrying any weight in your hands?
2. does that idc follow focus ever slip (it looks like it fastens to the plate with just one screw, which seems like it could slip)? Also, do you ever feel like you're putting too much pressure on the lens and lens mount when you push the focus knob onto the lense?
Thanks again. Good luck with your shoot!
John
2. The idc never slipped during the shootings. Not even with the hardest lens, the 50mm 1.2
Just curious: how is your shoot going? Anything you've learned about your gear that works or doesn't work from your recent experience?
Thanks.
Bye
I really like your setup. Allow me one question: how do you see and manipulate the camera settings with the monitor right in front of the buttons?
peace
settings wise... they are all on teh monitor.
So, the setup worked like a charm, the edirol, the lavs, the rig were impecable. I just finished syncing the footage with the audio, and things are slowly starting to get a shape. Now I will start the editing process, that will take me quite some time.
I don't know If I should put raw footage just for your information or if I should wait and post some edited and post produced sequence.
What do you say?
Great video, very helpful. Could you list some of the products that you used to customize the DVtec rig, and links if you have available.
Thank you, very much.
Volevo chiederti come mai la scelta di quel modello di Lilliput, per via dello spazio limitato tra monitor e DSLR?
Io ero più orientato ad un monitor (sempre Lilliput) ma HD70H coollcd.com/NEW-HD70H-7-quot--HD-LCD-Near-Field-Monitor-w--HDMI---2-Years-warranty--NO-TOUCHSCREEN-_p722.html a 118€ con più ingressi, solo che non so se poi con questo modello ho lo spazio per la batteria.
Consigli?...
Grazie
Great video. This inventive attitude people should always use in filmmkaing.
I just have three questions about the set up?
Was it difficult to remove the handles from the DVtec rig?
Did that base plate you have underneath the canon originally come with the DVtec rig or something else?
And have you tried rigging up a Lithium battery to the 5D, or is that impossible to rig?
Look forward to checking out your stuff.
Maddie