Articles with the ‘cvolution’ tag
ScreenPlane Production rig test….
Testing out the “Production rig with the Sony F65 on the Lambda head for a possible upcoming IMAX project.
This configuration works really nicely. It gives you complete freedom on the IA and you have good access to cameras and lenses. The F65 covers a 19mm with the Standard Mirror Box and a 14mm!!! with the Wide Angle Mirror Box, which is pretty amazing. You can see a screenshot of the 14mm from a monitor in underscan mode.
Fantastic rig with built in Cmotion rig and lens control.
WIDE MIRROR Box option
Cmotion Cvolution wireless lens controller in-depth walk through – Pt.2 3D
The new Cmotion Cvolution wireless lens controller has so many awesome new features that set it apart from others like Preston, I figured it was time to do a in-depth walk through video explaining all the features and benefits of this incredible system when used in 3D applications.
In PART 2 I go into all the 3D functions you need to master and use on a 3D production. The Cvolution will work with almost ALL the 3D rigs and in the market. It can record METADATA and lots of advanced functions.
The 8-Motor “Camin” pictured here is very small and compact and much smaller than Preston3D or Element Technica3D lens controller transmitters.
There are additional “advanced” functions that I don’t cover in this video that ONLY apply when you use the system with a ScreenPlane rig. I will cover those in another final video Part 3.
I Do cover everything you need to know to setup and shoot in 3D with the Cmotion Cvolution system.
Watch the video on Vimeo in HD….in depth tutorial…
OR WATCH on YouTube.com
I hope you find it useful and educational!!
For Cvolution rentals for your production contact me –
For more manufacturer information
Thanks to our gracious hosts that allowed me to use thier location to shoot this video….use the amazing Screenplane rig and PANTHER TriStar Dolly
I recently had the pleasure of working with the talented people at a new 3D production company Golden Gate 3D more info on them on their website
The project was a beautiful 3D ballet performance in front of the Golden Gate bridge Directed by Kate DuHamel using the new Screenplane SteadiFlex rig with dual Epics and Ultra primes lenses.
It was simply amazing to work with the dancers, the director and the choreographer. Despite the extremely windy conditions we managed to pull together some amazing shots.
This marked my first job with the new ScreenPlane “Steadyflex” beamsplitter Rig. We used Ultra prime lenses and RED Epic cameras with Cmotion Cvolution wireless lens and rig control. The rig performed fantastically and worked like nothing else on my steadicam. We were able to do some incredibly dynamic shots with the dancers that would never have been done with heavier rigs. Not to mention as the operator I had very little time to rest in-between takes as we were racing the sun and the dancers only had a limited amount of stamina and it was also very cold so we had to keep rollin to try to keep some heat in thier bodies!
It was a fantastic shoot and I can’t wait to see the results!
Thanks to everyone for a great day of shooting in San Fransico!
Thank you to Golden Gate 3D for providing me with wonderful behind the scenes pictures.
Enjoy the gallery!
Last week I reviewed the new BX4 rig from 21st Century 3D. I was impressed that a rig that size could be that light and work so well on my steadicam……well this week Sebastian from Camadeus invited me over to check out a steadicam specific 3D rig.
It raised the stakes!
Built by ScreenPlane in Germany this rig was purpose built for steadicam use, thus the name “Steady-flex”.
ScreenPlane rig has a unusual design. Very ingenious!
They have partnered with C-Motion lens Control and have built into the frame of the rig a “Camin transmitter” (like a preston MDR) The internal electronics control IO&Convergence Focus,Iris,Zoom of both cameras. Thus reducing the overall weight of the rig at the same time cleaning up the spaghetti of cables usually found on rigs.
The other major design aspect is that of the frame itself. It’s centered it’s mass instead of building more of a perimeter frame like on other rigs. This in addition to a few other design aspects enable this rig to be mounted “over-slung” on the steadicam rig. Meaning one camera points up instead of down. Usually on other rigs due to where there mass is and how far away it gets when overslung you end up with a long post and a heavy rig! Which is why on every other 3D rig we generally run “under-slung”.
Being able to use the rig in this “overslung mode” solves many 3D steadicam problems. The first of which is that when mounting the underslung rig on the steadicam you end up with a very front heavy rig. Which causes many problems. mainly you need to add weight to the back of the rig to counter all the front weight. This usually consists of mounting rods in the rear of the rig and mounting batteries, lock-it box, decimator and anything you can find to add rear weight. This also makes the rig really long! Which makes doing a “switchover” move all but impossible. As you have to push the rig so far away from your body ot get around all the rear weight that you had to run. This of course leaves your “dynamic” balance all out of whack. The other large issue with underslung mode is that usually your gimbal will at some point make contact with the bottom camera or camera plate. This means that on some rigs you can barely pan right. Many top rigs being used in the market today suffer from this. You end up have to pan with your body instead.
On the “Steady-flex” in overslung mode I can place my post exactly underneath the “CG” of the rig. This enables a much better fore-aft balance and removes any need to add any weight to the rear of the rig. This has tremendous consequences. The biggest is that I was able to dynamic balance the rig! (I open the video demonstrating this). Also I can keep the rig closer to my body because there is no “stuff” in the back of the rig. This helps with operator fatigue alot. The other is that I can now spin the rig 360 around my gimbal! So no issues with panning.
In this picture you can see how close the bottom camera is to my shoulder enabling the rig to be close to my body.
Once built out with a ambient box (to genlock the cameras), my decimator and all the necessary cables the complete rig (3D rig, sled, batteries) with RED Epics and UltraPrime LDS lenses came in at 52lbs. !!
This low weight coupled with the fact that we can dynamic balance the rig and pan freely presents a massive step forward in 3D steadicam.
Over the last 4 years or so I have flown just about every rig out there. I can honestly say this is the best rig for steadicam in the market. Compare 52lbs with the 75lb rig I flew just in December for Katy Perry 3D also on Epics and Ultra primes(altought that had a telecast copperhead on it).
I spent some time with the rig in my vest and was very happy. Then I threw it up on my segway and was just as happy, altough because of the overslung mode my post was a bit long. So if I ever opted to use it on a segway I would add some battery weight and collapse my post more.
I called my friend and legendary steadicam operator Randy Nolen, SOC to come check it out. He had just finished a job with a 70lbs rig so he was excited to try it out. He brought his friend a fellow SOC member Rick Drapkin to also check it out. He had a previous experience with 3D at around 80lbs!! So needless to say he was almost speechless.
I have a upcoming feature that we are planning on using the “steady-flex”. They want to shoot with the ARRI Alexa-M camera. So in a few weeks I will complete another test with the rig with Alexa-M cameras.
I look forward to flying this rig on the movie and posting a update to this test.
Watch and enjoy the video from the test.
Here some additional pictures from the test.
3D Steadicam…now with less fat!
This past week, famed 3D pioneer and Stereographer Jason Goodman invited me out to his LA offices to test out his new creation.
The BX4…what’s new?
Designed specifically for RED EPIC, RED Scarlet, Arri Alexa M, Canon C500 and C300, and other small form factor D-Cinema cameras, BX4 is among the lightest and most versatile rigs available. Weighing only 11lbs in its lightest configuration, BX4 is optimized for steadicam, handheld, and remote head applications.
In addition to motorized interaxial and convergence controls, all camera alignment functions can also be motorized for remote operation. naturally I always prefer to use my C-Motion Cvolution wireless lens and rig control. But….no built in electronics means no delays from electronic failures and no additional weight when motorized operation is not needed(this is key for keeping the steadicam light). All controls can be manually actuated as well.
One of the key new features with the BX 4 is, two optional filter holders, they can easily be attached or removed in the field.(once again keeping the steadicam config lighter) The two stage filter holder utilizes standard 4×5.65 drop in filters. The single stage rotating holder accommodates 5.65×5.65 filters and has unique click stop positions as well as angle markings that allow DPs and stereographers to utilize linear polarizing filters and easily match the angle for both cameras. Cinematographers have the option to creatively employ polarizing filters on a 3D rig. Managing reflections and shooting skies in 3D is greatly enhanced with BX4.
The other major design change is that now both cameras move. They move opposite of each other which keeps the steadicam sled in balance during IO changes mid shot.
Base price is $29,995. Optional filter holders are $2,495 each.
So how does it work on my steadicam?
Having previously operated the previous model the BX3 (later the 3.5) I can honestly say the BX4 is a massive step forward.
Like I mentioned, the “IO” (Inter-ocular or Inter-Axial) is now achieved by moving both cameras opposite each other. This keeps the rig “mostly” balanced on sled during IO changes mid-shot. I say mostly because there is some torque effect and some slight differences in weight that may cause a horizon change. This can easily be remedied by trimming the balance with a few small weights. Even without any trim weights the balanced is mostly unchanged. This allows the stereographer to alter the IO during the shot.
The rig is much lighter now. In fact, it’s an amazing 11lbs. at the moment! I set up the rig on my sled in “underslung” mode. This lowers the CG and allows me to run a shorter post. The rig was still front heavy but luckily I only needed a bit of weight out back to even things out. In the back of the rig you can see the decimator, the ambient TC and sync generator and also the Cvolution “camin” transmitter.
The total ready to shoot weight of the sled cam in at 58lbs. This was with Red zoom lenses. Also Jason mentioned a few small design changes to reduce weight even further.
One big design aspect that assists in practical operation for the steadicam operator is that fact that the bottom camera plate which is located in front of the gimbal is rather small. This results in quite alot of gimbal movement before contact. You can pan the rig quite a bit before there is any contact with the rig. This point cannot be understated. It is a huge pain in the butt to have to pull the gimbal handle closer to your body and make sure you don’t ruin you shot by hitting it on the rig. Thankfully due to his elegant design there is alot of room and this situation is greatly improved over other rigs/designs. In fact in “don juan” you wrist is free to assume it’s normal position and you have a clear view of the monitor.
Due to it’s lighter weight, running with the rig is now possible (see video) and generally I see no problems using this vest mounted in most situations. But when the situation comes when you need to zoom up and down a soccer field or chase actors down streets or do 4 page “walk and talks” there is nothing like a segway!
…on the segway.
Due to it’s lighter weight segway operational envelop is much larger. I found myself fighting the inertia of the rig much less. Due to it’s lighter weight and my resulting short post I had no issues with contacting the wheel on the segway.
All in all I came away very impressed by his new rig. The only other rig in the market that is lighter and better for steadicam is the ScreenPlane “Steady-flex” rig which is ready to shoot (Epic and ultra primes) at 52lbs. Full review coming soon.
The BX4 is a full size rig, with great optics and simple, robust, reliable adjusting mechanisms. All of which are things I value.
Can’t wait to use it!
For more information on the rig and rates, contact Jason Goodman – www.21c3d.com
For more information on my and my rates contact at www.pgfilms.tv
below is the full review video:
Here are some pictures taken during the test
C-Motion Cvolution wireless lens controller in-depth walk through – Pt.1 2D
Part 2 will with how to use the Cvolution on a 3D rig in 3D mode.
The new Cmotion Cvolution wireless lens controller has so many awesome new features that set it apart from others like Preston, I figured it was time to do a in-depth walk through video explaining all the features and benefits of this incredible system. I also go into the C-finder and the C-display. I also explain the differences between the new cvolution and the old hand unit.
There are some few new features since I shot this video due to firmware updates. But most of the information in the video is accurate and up to date…
any issues let me know.
here is the video (its 56mins long….covers everything you need to know!)
For more manufacturer information
Thanks to our gracious hosts that allowed me to use thier location to shoot this video.