In this film, I explore an abandoned grain elevator in Saskatchewan, Canada. I also showcase four different ways in which you can accomplish push/pull moves without seeing the track in the shot when using Kessler Crane Gear. Below is a 3 Minute Short I shot utilizing some of these methods. I have also included the quick start guide video at the bottom of the post.

***NOTE: I only showcase a few different methods in which you can accomplish these moves as there are many configuration options.

Introduction

There are a variety of configurations in which you are able to accomplish push or pull moves using Kessler Crane Gear. These can be accomplished by one of four methods; Angles, Tighter Lenses, Height, or Length. In this post, I will show you a few ways in which you can configure your gear to accomplish these moves without seeing the track in your shots.

Using Angles

There are two ways in which you can use angles to keep the track out of the shot. You can either slightly tilt the camera up to frame the camera out or have your track on an angle. To do this, lower the front of the track and raise the back of the track. This method is effective no matter the length of your track.

Using Tighter Lenses

A simple way in which to keep the track out of the shot is by using a tighter lens. However, if you are wanting to shoot with a wider lens and want to keep the camera parallel with the horizon, you will have to use either the angle or length options.

Using Height

Raising the camera off of the track will give you more flexibility when framing your shot. As a point of reference, if shooting with a 3 foot Cineslider with your camera raised up one foot, you can use a 24mm lens on a full frame camera and not see the track when your camera is pointed straight forward.

This method depends on the length of your track. If you are shooting with a longer track and want to have the camera parallel with the horizon, you will either have to use the angle or length options.

Using Length Extensions

Using length extensions is the most versatile option. In situations where you are wanting to push into something, such as a car window, this method allows you to do this. One thing to be cautious of however is that if there is a wind, movement may become present so keep an eye on your camera so there is no undesired movement.

To view the finished piece, visit vimeo.com/34493164

In this episode I talk about the concept of trade-offs, buying vs. renting gear, and knowing when to sell gear.

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At the 11th Annual San Francisco FCPUG Supermeet, cinematographer for SNL Films and Canon Explorer of Light, Alex Buono gives us the high points of the C300, and he also tells us why he's so excited about it.

Buono also talks support gear for the C300, and throws props to Redrock Micro's Ultra Cage.

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When you think of a 35mm sensor camera, what characteristics come to mind? Probably the first is shallow depth of field. It is part of what many consider the “look” of that imager size and a principle defining difference between it and other formats. But while some consider this the chief attribute of the format, others may find it to be a detriment in certain situations. For those shooting documentary, run-and-gun productions, a deeper depth of field may be preferable to maintain focus. Fortunately, there is another major facet to the latest crop of 35mm sensor cameras – a very low noise floor. This means that in a camera such as the Canon C300, a wide range of ISO settings can be applied with little objectionable artifacting to the image. Using the concept of the “variable depth of field camera,” you can adjust the available parameters of the camera to yield the depth of field desired for any given image. Watch the video to see this concept demonstrated.

Arri recently released their new Mini Mattebox, the MMB-2, which has all the quality that Arri’s products are known for in a lightweight package. The MMB-2 has a single 4×4 filter stage and a 4×5.6 filter stage, and is so lightweight that it easily clips on to just about any lens. It also has a 114mm back, which fits exactly onto the Zeiss Compact Prime.2 lenses. If you have still lenses, like Canon EF glass, Arri also make a series of rings that thread onto your lens so the mattebox fits perfectly. Arri also has a dual 4×5.6 filter stage model that gives more flexibility to anyone with a lot of 4×5.6″ filters. Both models are a great fit for cameras like the Sony F3 and the Canon C300. Watch my video above to learn more.