I have been doing research on other sites recently and checking out the monster camera configurations that people are creating. I question if that is the right path based on the two things attracted me to this camera; the filmic looking sensor and the size.
I saw one the other day that was bigger than the Genesis and that baby weighs in at 45-50 lbs in all. In film the camera is huge and I have been in the mass moving business since I started in 1986. The Canon 5D Mark II inspired me to throw out the mass and really break all the rules.
Man cam in minivan with backpack on the floorboard
Studio hand held mode in Washington
Studio hand held in Cambodia
Directors Mike McCoy and Scotty Waugh on Motorcycle Stripper
Rudy Harbon lensing with a Man cam with DC-3 Flyover off the Horn of Africa
Rigged stripper on diplomat's car in Phnom Penh
My camera is still very small for Studio hand held mode, Man Cam, and even smaller for Action Cam mode. Keeping it simple is our motto at Hurlbut Visuals and one that the Elite Team members believe in as well. What is the smallest, most compact set-up that delivers the story?
When I shot “Into the Blue,” I asked a lot of experienced cinematographers about their experience with shooting on water and what made them the most productive. I listened to all of their advice and chose a hybrid route by using some of their ideas mixed with my own. When I discussed my plan, a few of the naysayers said that my set-up count would go down by 75%. I was also told that Mother Nature would challenge us everyday. Unfortunately that would not be an option for us. Our budget was tight at 53 million for 60 days of shooting topside and 99 days underwater. It seemed impossible to pull off the director’s vision.
So, we came up with a new master plan that we put into action. Director John Stockwell loves to keep his crews small and intimate with the flexibility to change at a moments notice. Having a large crew would not make this movie a reality, so what we opted for a very large camera pkg. that fit into one Catamaran. 45 people and one boat made the entire on the water sequences of the film. If it was blowing hard and we could not go out, we tucked into a bay and shot to get the day. Not a huge flotilla to navigate and anchor. Just one camera boat, a picture boat and a few running support boats for divers and lunch. We started at 28 set-ups the first day, and then ramped it up to about 35 to 40 a day. This was ground breaking! But it was a very similar concept; lots of cameras ready in every configuration, small crew, small footprint. That equals speed, creativity, and the ability to capture serendipitous moments.
Our 10 1st Unit camera pkg. consisted of 1- Arri 535B on a 30’ Technocrane, 1- Arri 435 camera in a AquaCam housing on a 20’ Foxy crane that had a moving fulcrum to submerge the housing, 2- Arri 535B cameras in hand held mode, 2- Arri 535B cameras in Studio mode, 2- Arri III cameras in Underwater housings, 1- Arri 435 for slow-motion work, 1- Arri 535B on the Steadicam. This was all on the deck of a 45’ x 14’ Cat, that had below storage bays, a head and two supercharged Honda 350 outboard motors that blasted this baby across the ocean at 25 knots fully loaded. For further details you can read the ICG article at www.cameraguild.com/index.html?magazine/stoo0905.htm~top.main_hp
Rudy Harbon with big glass no gack
I am sharing this with you because it worked well. Now, it is your turn to make the decision for your shoot and it may have a variety of different solutions. The same holds true for a smaller production. This camera can be huge. I chose to do it with glass but not with all the other gack.
There is one critical question to consider. Do I need to make the camera look like an impressive movie camera for me to be taken seriously? The answer is NO! If we are going to embrace this new technology, everything has to change. The way we work will become more efficient; video village shrinks, people start to trust, re-invent, think out of the box, force their hands. If we want to achieve this we all have to NOT function like it is business as usual or the camera will blow up to what I see on all the web sites. It is the monster of all monsters with cables, adapters, converters, switchers, battery packs, wireless transmitters, etc.
I worked on all the Navy spots without a video village because the agency watched the playback on my lighting monitor when the directors were happy with the performance and the shot. If the agency wanted something different, we delivered it and then moved on. The end result was increased productivity. What shows up on the screen increases in a cheaper, more eco friendly way.
Though it is not always possible, try to start with the simplest set-up and build from there. If you need an on-board monitor so that you can broadcast a signal, put it all into a backpack: an Anton Battery pack, MDR, video converter, cinetape, wireless video transmitter, or a hard line that comes directly out of your back, not near the camera. Get another Marshall monitor with an Anton Battery back and run a hard line to the director first, then if you have to go wireless, again put it in the back pack. Just remember that adds time and things can fail, so the more you add the more it can go down.
Try out this idea, you go from Studio hand held mode to Man Cam by just plugging in cables to the camera, so you go onto a head where your back pack hangs on the dolly or your sticks. If you need all this stuff, just don’t put it on the camera. I would love to see your configurations that inspire and create. Send some pictures!
Tags: Camera Configurations, Cinematography
Shane 
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Roberto Luri, I would be honored to be on your website as long as I am credited. Do whatever you can to get the word out. This is the wave of the future. Let’s lead this trail blazing wave together.
Thanks Shane, let’s ride this wave.
Shane- thanks so much for your dedication to sharing your insights online. it takes alot of time answer comments and regularly create new postings!
Here is what I’ve been using in Afghanistan for the past 6 months while covering Route Clearance Patrols for the US Army:
http://www.kansascityindie.com/images/post-images/Afghan%20Indie%20Rig.jpg
I’ve attached it to my vest along with my M4 carbine:
http://www.kansascityindie.com/images/post-images/Full%20Body.jpg
Video PKGs can be viewed at the main page: http://www.kansascityindie.com
The GH1 is decent, especially as far as body/lens weight compared to Canon body/lenses. Now that the government has purchased a 7D and lenses (thats my own gear pictured), I’ll be making the switch.
Thanks again!
Seth
Seth Iliff, You are so welcome and I thank you for your support. I love your rig and I love your rig with your rifle, that is some kick ass ingenuity there. I also saw your report and it is excellent. Very well done. You are out there on a daily basis risking your life to document this. That is not only inspirational, I thank you for doing it. Keep it coming.
Shane- I have to ask which rig, Washington or Cambodia, did you prefer?
With Washington, the LCD seems awfully close to your face… any issues with that? The counterbalance would seem to allow you to get it out at a comfortable distance.
Once back home, I’ll be mating a (hotrodcameras.com)7D-PL with a Cooke 18-100. At that point the body will have behind my head for weight purposes, and a small HD monitor will become necessary. Unfortunately, the financial cost benefit of owning the Cooke with its focal length coverage will come with the price of adding the monitor. It’ll probably be a little monster, but your minimalist philosophy will still ring true, I hope.
It’ll send a pic your way in the fall. Thanks again!
Seth Iliff, Washington had an on-board monitor, that is why I was able to get it so close to my face and then I added the Zacuta Z-finder and you can see focus incredibly well. If you are going with that zoom, you will definitely need that Z-finder, design your rig so that your camera is close to your eyes and that it has a good counter balance with that lens. Maybe use the red Rock one that goes down at a right angle tight to your back, not like the one that Hurlbut Visuals has which extends past your shoulder and back. You tell me where to ship it and I will send you a Hurlbut Visuals Baseplate with the Really right stuff bracket to make this work. We just need to work with Hot Rod because their system does not work well with anything that is out there other than there handles.
Shane- Very interesting… At 12 lbs. the Cooke is definitely lighter than the Angenieux, but considering the weight I’m not sure that having the camera in front of me is the best approach, even with appropriate counterweight. What I’m imagining (and haven’t seen done) is putting as much of this big zoom over my shoulder as possible… the camera body would then be behind my head, and would necessitate a small lightweight monitor (http://www.smallhd.com/dpslr/).
A few years ago I owned the Redrock adapter with the Panasonic HVX. I built the rig so that I could view the HVX’s flip out monitor. This put probably 15 lbs in front of me, and I added the counterweight. I ended up with alot of lower back soreness, and I was slower moving around than I would’ve liked. Since then I’ve really disliked the counterweight principle.
If this rig didn’t need counterweight and was fairly balanced, I feel it would increase my speed and maneuverability. What do you think?
Whats the best way for me to get you my address? (I’d be happy to purchase the baseplate!)
I go on leave for two weeks back to my home in Kansas City starting May 9th, and should have the Cooke 18-100 in my possession, and most of the support system to create a rude setup that I can send you a picture and get your input on. Thanks so much!
Seth Iliff, I love the fact that you want to put that 18-100 over your shoulder and have a field monitor out in front of you. Those monitors are pieces of shit, they fail, suck power and are not made for location. They work really well in a stage or on a NAB trade show floor. I would try to keep to the basics and see if you can make the lens work with a little counter balance so that you can use you LCD screen. Your exposures and focus will be far superior. Send me your address at shane@hurlbutvisuals.com and we will send you one. I want to make sure that is will work with HotRods modification. Ilya said that he was making some kick ass hand held rig. Maybe he can get you dialed in.
Shane- I didn’t consider the fact that I’d be taking a risk with exposure and focus by relying on something that wasn’t the factory calibrated screen. You’re totally right, its not something I want to mess around with. If only there was a little more latitude in the data…
I will absolutely try you’re suggestion when I get back in a couple weeks. Thanks so much for your input on that monitor. I would’ve probably ordered one had you not said that- the specs/price are enticing. Sent you an email.
Hi Shane,
I have a few questions. I’m a student about to graduate Art Center and I’ve been asked to shoot a feature, very low budget ($200,000) They want to on the 5D and recently I got hold of a PV mount and I wanted to shoot anamorphic. I did a test with Some Primo Anamorphics and I was really impressed! Do you recommend a series of Anamorphics other than the Primos? I doubt we could afford Primos. I know the C series don’t work. Also I wanted to know where I could find the proper support for using the Panavision follow focus or if you know anyone who has machined anything that could be rented or purchased? Or if you have any that you would be willing to rent or sell? Thanks!