Monster Cable SMARTVIEW 300S Uživatelský manuál

w w w . w o l f c r o w . c o m Page 9 Is there a need for such a guide? Only you can decide what you need. I felt the need for a guide myself, so

w w w . w o l f c r o w . c o m Page 99 you generally want the best contrast possible from a lens. To cut down on flare, you need to cut out unwan

w w w . w o l f c r o w . c o m Page 100 characteristics of a lens. Stick to the one the manufacturer recommends. Its effect is hard to monitor on

w w w . w o l f c r o w . c o m Page 101 Image Courtesy: Ashley Pomeroy Filters can be placed in front of the lens or at the back. It’s a questio

w w w . w o l f c r o w . c o m Page 102 filters if you want to manipulate the light that has left the lens. Sensors themselves have color filter a

w w w . w o l f c r o w . c o m Page 103 There are strong UV filters that cut out haze, but with side effects. Most of the time, though, UV filters

w w w . w o l f c r o w . c o m Page 104 and cleaned. As long as you don’t forget this important step you’re gold. Polarizing Filter There are tw

w w w . w o l f c r o w . c o m Page 105 Image Courtesy: Robert Emperley from Strasbourg, Alsace, France ND filters are measured in stops of ligh

w w w . w o l f c r o w . c o m Page 106 ND128 2.1 7 ND256 2.4 8 ND512 2.7 9 ND1024 3.0 10 Finding it hard to remember? Use my method of 1-2-3:

w w w . w o l f c r o w . c o m Page 107 Fixed value ND filters offer the greatest precision, with the downside that you’ll need many filters to co

w w w . w o l f c r o w . c o m Page 108 a graduated ND filter might not work the way you want it to. Diffusion Filters These filters soften the

w w w . w o l f c r o w . c o m Page 10 every system out there, nor have I experience with every camera in this guide. My goal is to present guidel

w w w . w o l f c r o w . c o m Page 109  Negligible difference between different samples of the same glass  Easily available and replaceable

w w w . w o l f c r o w . c o m Page 110 themselves have threads so that you can screw another filter on it, forming a filter stack. What are some

w w w . w o l f c r o w . c o m Page 111 Traditionally, circular filters have been a good fit for photography. They are light, and along with lens

w w w . w o l f c r o w . c o m Page 112 Image Courtesy: Reinis Traidas – reinn / Silverstar99 at de.wikipedia A matte box serves two major purpo

w w w . w o l f c r o w . c o m Page 113 You can immediately see that having flaps means you can use it for many kinds of lenses, instead of having

w w w . w o l f c r o w . c o m Page 114 Don’t forget to take into account your lens choices, too. If the filter threads of your lenses vary, you’l

w w w . w o l f c r o w . c o m Page 115 shooting also means the system will take a lot of abuse, so going cheap isn’t a good idea. Matte boxes ma

w w w . w o l f c r o w . c o m Page 116 For ‘flagging’, you’ll need the Genus GL GFFW French Flag Assembly. If you know the filter size of your

w w w . w o l f c r o w . c o m Page 117 Beware: Nuns knickers can’t be used in a lens-mounted mode, unless you want a droopy matte box. Here’s

w w w . w o l f c r o w . c o m Page 118 Both these hold rotatable 4×4″ sized filters and can also be adapted to rods.

w w w . w o l f c r o w . c o m Page 11 Do I make mistakes? All the time. Luckily, I have readers who point out my errors, which allows me the oppo

w w w . w o l f c r o w . c o m Page 119 As a general rule of thumb: Always mount a matte box on rods unless there is no alternative. Matte Box Re

w w w . w o l f c r o w . c o m Page 120 1. Chrosziel 450W Matte Box Kit 2. Arri MMB-2 Matte Box kit The MMB-2 matte box has a 114mm filte

w w w . w o l f c r o w . c o m Page 121 Here’s an excellent video by AbelCine on the Arri MMB-2. Matte boxes might look like complicated pieces o

w w w . w o l f c r o w . c o m Page 122  4×5.65 (‘Panavision’ size)  5×5  5.65×5.65  6.6×6.6 Before buying, check the filters to see

w w w . w o l f c r o w . c o m Page 123 The principle is the same for any size. It’s basically somewhat of a chicken and egg problem. Your choice

w w w . w o l f c r o w . c o m Page 124 Diffusion Tiffen 77mm Glimmer Glass Tiffen 4×4 Gold Diffusion Special Effects (FX) Filter #1 Click here t

w w w . w o l f c r o w . c o m Page 125 Chapter 5 Follow Focus Systems One of the cheapest and most versatile lens in any manufacturer’s repertoi

w w w . w o l f c r o w . c o m Page 126 The f/1.4 and the f/1.2L have similar sized focusing rings, while the f/1.8 has a thin flimsy ring also

w w w . w o l f c r o w . c o m Page 127 is not always about documentation. You might want to rack focus (move focus from one point to another) at

w w w . w o l f c r o w . c o m Page 128 Author: HidalgoStudio Simple two-finger focusing (your hands only) gives two points of contact on the le

w w w . w o l f c r o w . c o m Page 12 What is a Rig? Buying a camera is not really buying just a camera. What you’re really buying is a collecti

w w w . w o l f c r o w . c o m Page 129 enough to work smoothly, without error, for years. Want a cheap follow focus system? You’re better off wi

w w w . w o l f c r o w . c o m Page 130  Are you shooting for broadcast or the silver screen?  Are you using cheap semi-plastic lenses with po

w w w . w o l f c r o w . c o m Page 131 Genus G-SFOC Superior Follow Focus System, a good all-round system: You can see the difference in mat

w w w . w o l f c r o w . c o m Page 132 Courtesy: Arri The MFF-2 has interchangeable focus knobs and is available in two different bases: a cine

w w w . w o l f c r o w . c o m Page 133 If you are committed to years of digital cinematography, why not invest in a good matte box and follow foc

w w w . w o l f c r o w . c o m Page 134 Chapter 6 Media Hopefully you have made the right choices about what needs to come in front of your camer

w w w . w o l f c r o w . c o m Page 135 A second type of classification is:  RAW Footage  Debayered/Raster Footage If you don’t know what

w w w . w o l f c r o w . c o m Page 136 Arri Alexa 41.25 SxS Canon 5D Mark III/6D/1DX 11.25 CF, SD Panasonic GH3 9 SD Canon C300 6,25 CF Canon 550

w w w . w o l f c r o w . c o m Page 137 Don’t take the data rates literally. Sometimes a lower data rate looks and holds up better in post-product

w w w . w o l f c r o w . c o m Page 138 Coverage per day (in minutes) = Total Footage Time (in minutes) / Days in Production E.g., if a 2 hour

w w w . w o l f c r o w . c o m Page 13 or performs on its own, it is useless unless it can work well with everything else. This process of custom

w w w . w o l f c r o w . c o m Page 139 shoot 10 x 60 / 15 = 40 minutes of footage per day. At the end of the day I’ll be offloading all this dat

w w w . w o l f c r o w . c o m Page 140 Use this method to find the lowest card size per day: Card Size (GB) = Total Footage per day (in GB) /

w w w . w o l f c r o w . c o m Page 141 This 16 GB card is then multiplied by whatever figure that’ll give me piece of mind. As a rule I always ca

w w w . w o l f c r o w . c o m Page 142 Rule of thumb: You can’t afford to lose footage, so the smart thing to do is backup at every opportunity;

w w w . w o l f c r o w . c o m Page 143 For SATA SSDs: Unless the manufacturer stresses proprietary technology (like SRMemory, SxS, Redmags, etc),

w w w . w o l f c r o w . c o m Page 144  Album-style, so I can see every card at a glance When I’m looking for cases, I always look first at

w w w . w o l f c r o w . c o m Page 145 Chapter 7 External Recorders Courtesy: Sony In very general terms, this is what happens inside your cam

w w w . w o l f c r o w . c o m Page 146 have Bayer sensors) to separate Red, Green and Blue information.  The sensor converts light into an ana

w w w . w o l f c r o w . c o m Page 147  External signals are transmitted via standard protocols so that the systems reading it can understand t

w w w . w o l f c r o w . c o m Page 148 About Misinformation Do you honestly think there is a hidden super-video in your camera that the manufac

w w w . w o l f c r o w . c o m Page 14 Imagine this scenario: You walk into a car dealership to buy your favorite car chassis. Then you walk ten

w w w . w o l f c r o w . c o m Page 149 Your footage can never be better than the system that created it. A lot of compromises happen in the tran

w w w . w o l f c r o w . c o m Page 150 Be very conservative when you tread this ground. Don’t assume your camera and recorder will give you the b

w w w . w o l f c r o w . c o m Page 151 This is exactly how codecs work. Two codecs might look the same visually, but one may be ten times the dat

w w w . w o l f c r o w . c o m Page 152  Sony SR-R4  Codex Arriraw  S.two OB-1  Convergent Design Nanoflash  Convergent Design Gemin

w w w . w o l f c r o w . c o m Page 153 Cameras/Data Maximum Data Rate in MB/s Media Uncompressed 4K 10-bit RGB @ 24 fps 720 Various Sony F65 4K 7

w w w . w o l f c r o w . c o m Page 154  The Costs of Working with 2K and 4K Uncompressed Footage  Deconstructing RAW, Parts I, II and III. T

w w w . w o l f c r o w . c o m Page 155 ports (I’ll be covering connectors later), under the proprietary T-link technology. These data rates are

w w w . w o l f c r o w . c o m Page 156  Ability to connect to monitor for live feed  Full audio capability  Good LCD Monitor for video/fo

w w w . w o l f c r o w . c o m Page 157 Here are a couple of good videos that explain how external recorders work:  Gemini 4:4:4 explained

w w w . w o l f c r o w . c o m Page 158 Chapter 8 Data Management In the last two chapters we’ve looked at the options for recording data to inte

w w w . w o l f c r o w . c o m Page 15 Chapter 2 Ergonomics Courtesy: Steadicam Operator John Fry with Master Steadicam & Arri Alexa camera

w w w . w o l f c r o w . c o m Page 159 compatibility problems, depending on the file system used, formatting applied, physical structure of the m

w w w . w o l f c r o w . c o m Page 160  Will you need to read this data years from now? If you’ve answered yes to any of these questions, yo

w w w . w o l f c r o w . c o m Page 161 LTO tapes are marked from 1 to 6, and the most widespread as of 2012 is LTO4 and LTO5. LTO6 has just been

w w w . w o l f c r o w . c o m Page 162 But what if you don’t need LTO tapes and long term archival solutions? Most productions have a shelf life

w w w . w o l f c r o w . c o m Page 163 Considerations for an SFS:  Good read speed  Acceptable Redundancy  Good drive space efficiency

w w w . w o l f c r o w . c o m Page 164 I recommend at least one more backup stored in a different physical location. Your SFS might be destroyed

w w w . w o l f c r o w . c o m Page 165 and faster) just to buy another reusable hard disk and store it in a third physical location. Are we done

w w w . w o l f c r o w . c o m Page 166 The first thing you’ll need for your data station is a Media Reader. It can be as simple as an SD card rea

w w w . w o l f c r o w . c o m Page 167 Codex Drive Codex Transfer Stations SxS SONNET QIO QIO-PCIE Media Reader SR Memory SRPC4 Data Transfer Uni

w w w . w o l f c r o w . c o m Page 168 For this reason, the data station will include an SFS of its own, with either redundancy or duplication (c

w w w . w o l f c r o w . c o m Page 16 What is Ergonomics? Ergonomics, also called ‘Human Factors’, is the field that studies and describes how w

w w w . w o l f c r o w . c o m Page 169 It is not uncommon for data stations to hold all the footage from a production, just in case somebody want

w w w . w o l f c r o w . c o m Page 170 How do you know if you need transcoding on set? Here are a few questions to get you started:  Do you ha

w w w . w o l f c r o w . c o m Page 171 someone who understands computers, networking and video. Most data stations are custom built by knowledg

w w w . w o l f c r o w . c o m Page 172

w w w . w o l f c r o w . c o m Page 173 The Codex Arriraw recorder (top) connects directly to the Arri Alexa and records to Codex Datapacks (Middl

w w w . w o l f c r o w . c o m Page 174  Laptops or Desktops?  Server or PC?  Rack or Tower?  Mac, Windows or Linux? Laptop or Desk

w w w . w o l f c r o w . c o m Page 175  Will you be processing tough codecs like RAW files on a regular basis?  Will you need the capability

w w w . w o l f c r o w . c o m Page 176 Server or PC? In general terms, servers have components that are supposed to last longer, and work reliab

w w w . w o l f c r o w . c o m Page 177 Rule of thumb: Choose servers over PCs if your budget allows for it. If it doesn’t, don’t worry too much.

w w w . w o l f c r o w . c o m Page 178 give it the greatest functionality. Having multiple operating systems on any computer doesn’t add much to

w w w . w o l f c r o w . c o m Page 17 An incorrectly designed rig might shorten someone’s career, or life. You decide whether that’s important o

w w w . w o l f c r o w . c o m Page 179 overhead for those unforseen devices someone will want to plug in to your beautiful data station. Here is

w w w . w o l f c r o w . c o m Page 180 Such a data station (also called a DIT Cart) will include a computer, terabytes of storage, an LTO back

w w w . w o l f c r o w . c o m Page 181 on set; and some have the occasional coffee table. Thank goodness for small mercies. Can we add more? Of

w w w . w o l f c r o w . c o m Page 182 this falls in the purview of the DIT, though I have no clue how being a master in color has anything to do

w w w . w o l f c r o w . c o m Page 183 Chapter 9 Signal Flow and Standards Luckily for most of us, camera manufacturers try to make it simple by

w w w . w o l f c r o w . c o m Page 184 Since most of the cameras in this guide don’t use component I’m not considering it. But it still exist

w w w . w o l f c r o w . c o m Page 185 camera. It’s supposed to make things easy, right? Wrong. Even within the standards, you have different ve

w w w . w o l f c r o w . c o m Page 186 Rule of thumb: Just because a signal is in a specific standard doesn’t mean you’ll get the best out of it.

w w w . w o l f c r o w . c o m Page 187 how many HDMI connections does that make? The more the HDMI connectors, the greater the chances of one bei

w w w . w o l f c r o w . c o m Page 188 Rule of thumb: If the service at sales is poor, imagine what service you’ll get once you have parted with

w w w . w o l f c r o w . c o m Page 18  Are the materials used safe, healthy, non-hazardous, non-allergic, recyclable and eco-friendly?  Is th

w w w . w o l f c r o w . c o m Page 189 Chapter 10 External Monitoring External monitoring can mean two things:  Monitoring for aesthetics

w w w . w o l f c r o w . c o m Page 190 To judge aesthetics, one looks at the image, namely the colors, the framing, the focus, and hopefully the

w w w . w o l f c r o w . c o m Page 191 The goal of your external monitor is to show you exactly what you’re shooting. If it distorts the signal (

w w w . w o l f c r o w . c o m Page 192 How to find the right size monitor What is the ideal size of an external monitor? 5″, 7″, 9″, 15″, 24″ or

w w w . w o l f c r o w . c o m Page 193  When more than one person is viewing a monitor, they won’t always be at the same distance from it. 

w w w . w o l f c r o w . c o m Page 194  Gamma  Internal Calibration  Color Space/LUTs/Profiles  Color Gamut  Bit Depth The sky’s

w w w . w o l f c r o w . c o m Page 195 standard you’ll find today is the SMPTE 292M standard, as follows:  10 bit 4:2:2  Maximum 1920x1080p

w w w . w o l f c r o w . c o m Page 196 Before I move on to suggestions, here’s my personal take: When it comes to data inspection, I’ve observed

w w w . w o l f c r o w . c o m Page 197 Rule of thumb: If you know your camera, lighting and lens inside out, you don’t need an external monitor.

w w w . w o l f c r o w . c o m Page 198 One of the most important properties of an external monitor is its ability to analyze the technical merit

w w w . w o l f c r o w . c o m Page 1 Read the online version of this guide here: hp://wolfcrow.com/blog/comprehensive-guide-to-rigging-any-c

w w w . w o l f c r o w . c o m Page 19 define a form factor in infinite ways, so don’t read too much into it. Image Courtesy: Frank Gosebruch I

w w w . w o l f c r o w . c o m Page 199 Test/Control Signal – This is a standard signal with known characteristics that can be used to check for p

w w w . w o l f c r o w . c o m Page 200  Pixel density – Must meet your viewing distance criteria  Refresh rate – Should be 120 Hz if possibl

w w w . w o l f c r o w . c o m Page 201 In fact, you don’t need the best monitor on earth on a production set. Using technical tools will keep you

w w w . w o l f c r o w . c o m Page 202 Monitor shortcomings are never marketed. Ultimately, even the perfect monitor on paper might prove inadequ

w w w . w o l f c r o w . c o m Page 203 3″ Focusing and framing only Use Viewfinder or LCD

w w w . w o l f c r o w . c o m Page 204 Monitoring BNC – Use Viewfinder or LCD, or something like the Marshall Electronics V-LCD4PROL 4″ HDMI –

w w w . w o l f c r o w . c o m Page 205 I personally feel a 5″ monitor isn’t worth the trouble only for framing and focusing. But you might have s

w w w . w o l f c r o w . c o m Page 206 Focusing and framing only HD-SDI – Blackmagic Design Smartview Duo Rackmountable Dual 8 inch LCD Monitors

w w w . w o l f c r o w . c o m Page 207 What does a top of the line monitor get you? Full resolution, robust monitoring and excellent quality all

w w w . w o l f c r o w . c o m Page 208 Focusing and framing only HD-SDI – Manhattan LCD HD089B2-S-3GSDI HDMI – Manhattan LCD HD8900 8.9″ Specia

w w w . w o l f c r o w . c o m Page 20  Long Body – Camera body length is largest  Modular – Camera body is designed specifically for modulari

w w w . w o l f c r o w . c o m Page 209 Top of the line Transvideo CineMonitorHD10 SB Evolution 14″ This is where things get slightly murky.

w w w . w o l f c r o w . c o m Page 210 Or should you stick to a professional-grade monitor? Focusing and framing only I see no reason to spend

w w w . w o l f c r o w . c o m Page 211 no hesitation in recommending a Apple MacBook Pro - or even something like an IdeaPad Yoga Top of t

w w w . w o l f c r o w . c o m Page 212 17″ The 17″ size is interesting. Most laptop manufacturers have somewhat settled on this size as the up

w w w . w o l f c r o w . c o m Page 213 Monitoring HD-SDI – Marshall V-R171X-DLW HD-SDI and HDMI – Sony PVM-1741 24″ A 24″ monitor usually has

w w w . w o l f c r o w . c o m Page 214 makes decisions from what they see on this monitor. Focusing and framing only For the reason mentioned a

w w w . w o l f c r o w . c o m Page 215 Monitoring HD-SDI – JVC 24″ Studio Monitor (DT-V24G11Z) HDMI – Sony LMD-2110W which can also take HD-SDI

w w w . w o l f c r o w . c o m Page 216 4K – the curious problem of too close and too far Every monitor is constrained by resolution and its si

w w w . w o l f c r o w . c o m Page 217 Why does this happen? Individual pixels will seem to ‘bunch up’ to form bigger pixels as you step away. To

w w w . w o l f c r o w . c o m Page 218 What does this tell you? There is a very small window of opportunity for 4K on a set. 99 times out of 100,

w w w . w o l f c r o w . c o m Page 21 The advantage of classifying cameras is that you immediately see where each camera belongs physically. Fr

w w w . w o l f c r o w . c o m Page 219 Large monitors for 1080p Production monitors at these sizes are expensive, so if you have an HD-SDI fee

w w w . w o l f c r o w . c o m Page 220 32″ Focusing and Framing – Dell UltraSharp U3011 Professional-grade – Sony PVML3200 32″+ Most profes

w w w . w o l f c r o w . c o m Page 221 One shouldn’t expect the kind of color quality from large monitors as one would find on smaller monitors.

w w w . w o l f c r o w . c o m Page 222 What makes it even more complicated is the fact that the cameras chosen for this guide that shoot 2K have

w w w . w o l f c r o w . c o m Page 223 It is plain that if you want 4K, you want the best image quality possible. There are no cheap solutions av

w w w . w o l f c r o w . c o m Page 224

w w w . w o l f c r o w . c o m Page 225 But-  What if you have a multicam setup in a broadcast environment?  What if you’re streaming or broa

w w w . w o l f c r o w . c o m Page 226 operate and fully utilize all the information a scope provides. For everyone else, let’s stick to the basi

w w w . w o l f c r o w . c o m Page 227 If you want a PC setup for your data station, you could use the Blackmagic Design Ultrascope Card instead

w w w . w o l f c r o w . c o m Page 228 Scopes Scopes are the bread and butter of a video signal testing system. Waveforms, vectorscopes, you n

w w w . w o l f c r o w . c o m Page 22 On the other hand, the BMCC looks modular, but is it? The BMCC is designed for handheld use right out of th

w w w . w o l f c r o w . c o m Page 229  Can be used as a broadcast monitor (1024×768)  Waveform, vectorscope, audio, error detection and gamu

w w w . w o l f c r o w . c o m Page 230 Portable Take a look at the Tektronix WFM2200. The more the systems, the more running around an enginee

w w w . w o l f c r o w . c o m Page 231 What if you’re shooting RAW? RAW means the signal only contains data in a specific format. There is no co

w w w . w o l f c r o w . c o m Page 232 Other Gear Signal Pulse Generators You need these to test systems against a standard known type of sign

w w w . w o l f c r o w . c o m Page 233 Check out these digital multimeters from Tektronix. What I’ve outlined here barely scratches the surfa

w w w . w o l f c r o w . c o m Page 234 Color calibration system The most important color space, common to all the cameras in this guide, is Rec.

w w w . w o l f c r o w . c o m Page 235 Note: A wide gamut monitor does not mean it can show every color, just a few more colors outside Rec. 709

w w w . w o l f c r o w . c o m Page 236 colors under an established color space, like Rec. 709, while discarding the rest. A good HD camera will h

w w w . w o l f c r o w . c o m Page 237 system keeps things within the ‘ball park’, so to speak. To know more about color, please read Driving Mi

w w w . w o l f c r o w . c o m Page 238 Two excellent systems for your external monitor are the Datacolor Spyder4Elite and X-Rite i1 Display Pro

w w w . w o l f c r o w . c o m Page 23  Glossy surfaces reflect light, and draw attention. It’s harder to read off glossy surfaces.  Matte su

w w w . w o l f c r o w . c o m Page 239 One accessory which is a must have for an external monitor is the hood, like this one from Compushade (fit

w w w . w o l f c r o w . c o m Page 240 Chapter 11 Viewfinders When the monitor is small and can only be observed at a small distance, like in sh

w w w . w o l f c r o w . c o m Page 241  Camera and Exposure settings  Markings for different aspect ratios  Robust and flexible in moveme

w w w . w o l f c r o w . c o m Page 242 being driven by a phenomenal improvement in pixel density of EVFs, without a large cost burden. For this

w w w . w o l f c r o w . c o m Page 243 EVFs Being electronic in nature, EVFs are fundamentally similar to external monitors, and use similar s

w w w . w o l f c r o w . c o m Page 244 The Cineroid Metal version has options for HD-SDI, HDMI or even HD-SDI/HDMI loop-throughs, which is really

w w w . w o l f c r o w . c o m Page 245 highly recommend sticking to the EVFs the manufacturer recommends:  Red Epic/Scarlet – Bomb EVF OLED (

w w w . w o l f c r o w . c o m Page 246 in a viewfinder anyway. That isn’t the viewfinder’s purpose, is it? Or is it? If you are from a photograp

w w w . w o l f c r o w . c o m Page 247 Cheap Option Use a Mobile Phone with the Artemis Director’s Viewfinder for IOS or Android. ‘Proper’ Opti

w w w . w o l f c r o w . c o m Page 248 Loupes Loupes fit LCD/LED monitors to convert it into a viewfinder. Loupes are handy when there’s a lot

w w w . w o l f c r o w . c o m Page 24 pyramids, cars, etc) are excellent, and so on.  The lower the number of points of contact the greater th

w w w . w o l f c r o w . c o m Page 249 Chapter 12 Making the Connections Here’s a list of cameras considered in this guide along with the connec

w w w . w o l f c r o w . c o m Page 250 with so many options that one wonders whether all of them have been used at all. We will look at audio opt

w w w . w o l f c r o w . c o m Page 251 Video Adapters and Cables A video adapter isn’t a dumb device. It has the unenviable task of converting o

w w w . w o l f c r o w . c o m Page 252 adapter in a signal chain, there’s probably an easier way. Note: Between HDMI, DisplayPort and DVI-D, a s

w w w . w o l f c r o w . c o m Page 253 Both of these also handles 3G-SDI, which is an important feature to have. For HD-SDI and HDMI cables, che

w w w . w o l f c r o w . c o m Page 254 For just the adapter version, try the Monster Cable Dvi-Hdmi Sl Mkii Adapter. HD-SDI – DVI-D* From HD-SD

w w w . w o l f c r o w . c o m Page 255 To quote Wikipedia: The long flat pin on a DVI-I connector is wider than the same pin on a DVI-D connect

w w w . w o l f c r o w . c o m Page 256 the 4 analog pins. It is possible, however, to connect a male DVI-D cable to a female DVI-I connector. Man

w w w . w o l f c r o w . c o m Page 257 Everything together? For HD-SDI, 3G-SDI, HDMI, DisplayPort and DVI all rolled into one, take a look at t

w w w . w o l f c r o w . c o m Page 258 Splitters A splitter duplicates the incoming signal into two or more versions. A good splitter should:

w w w . w o l f c r o w . c o m Page 25 What about your body? I hope you realize a healthy body will give you more mileage than an unhealthy one.

w w w . w o l f c r o w . c o m Page 259 DVI You could go to 2 devices or more, depending on how many monitors you have on set. For 2 monitors, t

w w w . w o l f c r o w . c o m Page 260 Or you could also use a switch, like the Cisco-Linksys EG005W Gigabit 5-Port Workgroup Switch. Just make

w w w . w o l f c r o w . c o m Page 261 needing to feed monitors a hundred feet (or more) away. An Extender amplifies the signal so it can travel

w w w . w o l f c r o w . c o m Page 262 HDMI HDMI, with the best cable, can go up to 50 feet. Usually, though, the average is less than 20 feet.

w w w . w o l f c r o w . c o m Page 263 Try the Gefen DisplayPort Extreme Extension Cable 100 ft. Converters, Vision Mixers and Production Switc

w w w . w o l f c r o w . c o m Page 264 When in such an environment, you’ll also appreciate having the ability to switch between multiple streams

w w w . w o l f c r o w . c o m Page 265 Switchers come in all kinds of permutations and combinations, depending on the industry you are in, and

w w w . w o l f c r o w . c o m Page 266 an aesthetic exercise than a technical one. In this case a data station makes more sense. I’ll deal with

w w w . w o l f c r o w . c o m Page 267 proprietary (or you could call it ‘semi-standard’) LEMO pins, USB or BNC ports for sophisticated control.

w w w . w o l f c r o w . c o m Page 268 For focus control, you could also use the Cinematics Pro USB Focus Controller. If these solutions are t

w w w . w o l f c r o w . c o m Page 26  Back Pain Here’s a decent video from Zacuto that gives you brief overview on some of the things I’ve ta

w w w . w o l f c r o w . c o m Page 269 Panasonic GH2/GH3 This is one area where the Panasonic cameras lag behind Canon or Nikon. Try the Profess

w w w . w o l f c r o w . c o m Page 270 Not all LANC controllers are compatible with the BMCC. BMD currently recommends the Manfrotto MVR901EPLA P

w w w . w o l f c r o w . c o m Page 271 For excellent LANC functionality, try the Sony LANC Remote Controller. For an even better option, try the

w w w . w o l f c r o w . c o m Page 272 Using the Canon WFT-E6A Wireless File Transmitter you can control the camera via any tablet or mobile devi

w w w . w o l f c r o w . c o m Page 273 For extra functionality, including wireless access to tablets and transcoding proxies, use the Meizler Mod

w w w . w o l f c r o w . c o m Page 274 For basic remote control, use the RCU-4, which offers full cabled control. Sony F65 When the Sony CBK

w w w . w o l f c r o w . c o m Page 275 TC Devices Timecode is what you get when each frame (or field) is tagged with its own identity, a number,

w w w . w o l f c r o w . c o m Page 276 A lot of people find timecode confusing, similar to an airline flight-schedule display board or a twitter

w w w . w o l f c r o w . c o m Page 277 Image courtesy: German Federal Archive (Deutsches Bundesarchiv, Thaler E. The conductor’s brain is the c

w w w . w o l f c r o w . c o m Page 278 Your requirements of timecode depend on which features of timecode you want. Do you just want a reference,

w w w . w o l f c r o w . c o m Page 27

w w w . w o l f c r o w . c o m Page 279 It includes a sync generator and timecode display, and supports up to 1080p60. For more control, you

w w w . w o l f c r o w . c o m Page 280 The el-cheapo method, which also happens to be more than a century old, is to use a slate/clapperboard, li

w w w . w o l f c r o w . c o m Page 281 A full studio setup is beyond the scope of this guide, but for basic production work, even for live broadc

w w w . w o l f c r o w . c o m Page 282 For this reason, one uses a timecode reader or logger like the Katamount Scriptlinc. Hopefully this woul

w w w . w o l f c r o w . c o m Page 283 critical so there are no ‘gaps’ between switches to different signals – imagine a quick black jump every t

w w w . w o l f c r o w . c o m Page 284  Sony PMW-F3, via HD-Y  Canon C300, via Timecode Output  Red Epic/Scarlet, via SYNC and CTRL Ports

w w w . w o l f c r o w . c o m Page 285 with two arms, while a tri-level signal has three arms. This makes a tri-level signal lock stronger, in el

w w w . w o l f c r o w . c o m Page 286 This brings us to the end of this chapter. You might be feeling quite overwhelmed by all these devices and

w w w . w o l f c r o w . c o m Page 287 Chapter 13 Audio Image Courtesy: PRA Most novices to the video industry give priority to images. Nothing

w w w . w o l f c r o w . c o m Page 288 Firstly, audio can exist alone, and can be a pleasurable experience by itself. Video without audio is a pa

w w w . w o l f c r o w . c o m Page 28

w w w . w o l f c r o w . c o m Page 289 Whatever the reason, one of the big lessons any filmmaker learns over the course of a career is the import

w w w . w o l f c r o w . c o m Page 290 Image Courtesy: Michael Piotrowski What are the advantages of XLR? Just like HD-SDI has many superior f

w w w . w o l f c r o w . c o m Page 291 analog audio, switchable between mic and line levels. Here’s what it looks like: The right-most is th

w w w . w o l f c r o w . c o m Page 292 What’s a balanced analog audio signal? The 1/4″ TRS has two conductors, called the tip and the ring. The

w w w . w o l f c r o w . c o m Page 293 What are the disadvantages of 1/4″ TRS connectors? From Wikipedia: The socket grounds the plug tip and ri

w w w . w o l f c r o w . c o m Page 294 In fact, the kind of audio connectors a camera manufacturer provides on their camera is a clear indicator

w w w . w o l f c r o w . c o m Page 295 Level three is the only way to get the best audio quality – perfect for broadcast and feature film work. T

w w w . w o l f c r o w . c o m Page 296 What is the minimum acceptable audio for professional applications? This is a tough question to answer, a

w w w . w o l f c r o w . c o m Page 297 don’t forget that this is specific to the final mix, not the recording format. Uncompressed audio at the a

w w w . w o l f c r o w . c o m Page 298 And this is shooting in compressed Redcode. If I wanted uncompressed video I might only have 10 kbps or le

w w w . w o l f c r o w . c o m Page 2 Disclosure: Links in this ebook may be to our affiliates; sales through affiliate links may benefit this si

w w w . w o l f c r o w . c o m Page 29 A last word - We all have to work hard to get something done, so why not do it in style? Unless you are r

w w w . w o l f c r o w . c o m Page 299 How to find which level you belong in The first question you need to ask yourself is: Am I happy with th

w w w . w o l f c r o w . c o m Page 300 Are the controls in the right place, and will I be able to get to them consistently on a shoot, without un

w w w . w o l f c r o w . c o m Page 301 In level one, you’re down to the basics:  Microphone with accessories  Headphone That’s it. Ther

w w w . w o l f c r o w . c o m Page 302 A shotgun microphone usually needs a few accessories: Shock or Suspension mount for ‘isolation’

w w w . w o l f c r o w . c o m Page 303 This suspends the microphone in space, so that any vibration or movement of the whole system will not be p

w w w . w o l f c r o w . c o m Page 304 Zeppelins come in various sizes, so choose one that can comfortably hold the length of your microphone, wh

w w w . w o l f c r o w . c o m Page 305 stationary, a simple holder will suffice, like this one: Boom pole Unless your boom operator is Mr. Fan

w w w . w o l f c r o w . c o m Page 306  Comes with an option to support cables  Has a decent grip  No sagging in the pole when a full zep

w w w . w o l f c r o w . c o m Page 307 To adapt XLR to 3.5mm, which is very handy when recording audio to a computer or laptop, try the HOSA XLR

w w w . w o l f c r o w . c o m Page 308 Always get adapters and cables of at least the same quality and pedigree as the rest of your audio gear.

w w w . w o l f c r o w . c o m Page 30 Chapter 3 Lenses Image courtesy: Bill Ebbesen The Image Sensor and Basic Lens Selection For better or fo

w w w . w o l f c r o w . c o m Page 309 A wireless lav system includes a microphone that plugs into a transmitter. A receiver receives the signal

w w w . w o l f c r o w . c o m Page 310 sound. If only upper body strength was required, one might as well use a stand. Therefore, for profession

w w w . w o l f c r o w . c o m Page 311 If some of the prices in the ‘Level One’ list surprises you, remember that audio gear lasts for many yea

w w w . w o l f c r o w . c o m Page 312 LEVEL TWO Minimum level for flexibility and professional quality Instead of controlling audio in camera,

w w w . w o l f c r o w . c o m Page 313 The disadvantage is when you need to mix in other kinds of audio, like effects or looping, etc. That’s whe

w w w . w o l f c r o w . c o m Page 314 One could argue that level two is recording independently of camera. But level three is something else.

w w w . w o l f c r o w . c o m Page 315 to the camera instead of recording separately. Perfectly acceptable, and is probably the fastest way to wo

w w w . w o l f c r o w . c o m Page 316 Fascinating, that there’s a level of mastery here that few filmmakers appreciate, even though digital audi

w w w . w o l f c r o w . c o m Page 317 A portable backup: Marantz PMD661 Portable SD Recorder

w w w . w o l f c r o w . c o m Page 318 Mixer To make use of four track recording, you’ll need a mixer that is up to the task: Sound Devices 552

w w w . w o l f c r o w . c o m Page 31  Size  Aspect Ratio  Resolution  Pixel Pitch The following table shows this information for the c

w w w . w o l f c r o w . c o m Page 319 Don’t forget to add the K-tek boom kit listed in level one. These are a perfect match! For wireless lavali

w w w . w o l f c r o w . c o m Page 320 Headphones Sennheiser HD800 Over-Ear Circum-Aural Dynamic Premiere Headphone

w w w . w o l f c r o w . c o m Page 321 Technical Monitoring If you want a laptop solution, check out Wave Agent. With it, you can view and edit

w w w . w o l f c r o w . c o m Page 322 Such a system provides solid monitoring, especially in an HD-SDI pipeline. One of the cooler things abo

w w w . w o l f c r o w . c o m Page 323 Keyboard/Remote Interface If you like to have a single control point, especially when dealing with soft

w w w . w o l f c r o w . c o m Page 324 This is what a full production audio cart might look like (Mark LeBlanc’s setup, click here for his gear

w w w . w o l f c r o w . c o m Page 325 Rule of thumb: You know your audio is on par with your camera gear when they weigh the same!

w w w . w o l f c r o w . c o m Page 326 Chapter 14 Power Supplies If only things were this simple: IMPORTANT! Tinkering with electricity is da

w w w . w o l f c r o w . c o m Page 327 practical use. I’m not responsible if you follow my suggestions and something bad happens. Here’s a list

w w w . w o l f c r o w . c o m Page 328 Let’s start with Voltage In electrical engineering, it is ‘traditional’ to keep the voltage constant, for

w w w . w o l f c r o w . c o m Page 32 other versions of Super 35mm as well. Unless you’re shooting film don’t waste your time with it. As you ca

w w w . w o l f c r o w . c o m Page 329 Fortunately, there are only two major AC standards:  220-240V, 50 Hz  110V, 60 Hz AC Supply Eve

w w w . w o l f c r o w . c o m Page 330 Rule of thumb: If you’re indoors, and don’t need a mobile setup, aim to supply power through AC. The adap

w w w . w o l f c r o w . c o m Page 331 If you’re in an area with non-uniform or unreliable AC power, I strongly recommend a UPS from APC: A UPS

w w w . w o l f c r o w . c o m Page 332 For a general adapter that will take both voltages, try the Kensington International All-in-One Travel Plu

w w w . w o l f c r o w . c o m Page 333 working with AC! You still need to charge your batteries using the mains, so don’t take AC protection ligh

w w w . w o l f c r o w . c o m Page 334 How to begin selecting an electrical device The voltage is the center of the universe. Find a device that

w w w . w o l f c r o w . c o m Page 335 You could buy a voltage regulator like the Elenco Variable Voltage Power Supply Kit: This kit can outpu

w w w . w o l f c r o w . c o m Page 336 For a simple but excellent multimeter, try the Fluke 27B 27 B Analog Digital Multimeter. For a top-of-th

w w w . w o l f c r o w . c o m Page 337 Power (Watts) = Voltage (Volts) x Current (Amperes) Most cameras specify the rated power clearly. Some

w w w . w o l f c r o w . c o m Page 338 precise values are usually found in the operating manuals of each device. Capacity – Watt hours (Wh) and

w w w . w o l f c r o w . c o m Page 33 The Image Circle Lenses usually have well defined image circles. The sensor you have chosen must fall with

w w w . w o l f c r o w . c o m Page 339 For example, if you’re using the Arri Alexa for one hour, you’ll need a power source/battery that can supp

w w w . w o l f c r o w . c o m Page 340 It is great to see modern Sony and Canon cameras aiming to draw less than 20 W. The FS100/FS700 only draws

w w w . w o l f c r o w . c o m Page 341 hours, including intermittent recording and standby time. Why 4? Is it an astrological thing? Nope, just

w w w . w o l f c r o w . c o m Page 342  Two batteries – 8 hour shooting day  Third battery – when shooting is pushed to 12 hours  Fourth

w w w . w o l f c r o w . c o m Page 343 voltage regulators and adapters for each device is a real pain. The common thinking is: if I have one bat

w w w . w o l f c r o w . c o m Page 344 In a nutshell – simplicity, safety, convenience and weight over cost. A good battery system is a long-term

w w w . w o l f c r o w . c o m Page 345  Is everything portable? Is this the simplest setup possible?  After filtering down your list you wil

w w w . w o l f c r o w . c o m Page 346 Battery System The primary purpose of a battery system is to provide power to the rig. In addition, a sys

w w w . w o l f c r o w . c o m Page 347 The battery is mounted on a battery plate or bracket: Anton Bauer QRC-Gold Universal Compact Gold Mount Br

w w w . w o l f c r o w . c o m Page 348 Sometimes the bracket can also charge the battery: Anton Bauer Tandem 70 Gold Mount Single-Position 70 wa

w w w . w o l f c r o w . c o m Page 34 This guide will not be covering such scenarios. Unfortunately, one doesn’t have the luxury of testing out

w w w . w o l f c r o w . c o m Page 349 Professional battery systems have a proprietary P-tap or D-tap connector, from which you run a cable that

w w w . w o l f c r o w . c o m Page 350 If you want a solution that isn’t custom-made, you could try something like this: Switronix XP-MAGIC-12

w w w . w o l f c r o w . c o m Page 351 PowerTap Multi – Male PowerTap to Four Female PowerTap Receptacles The system is designed to provide for

w w w . w o l f c r o w . c o m Page 352 Marshall Electronics 4-Pin XLR Power to Anton Bauer Power Tap To convert DC voltages, you’ll need somethi

w w w . w o l f c r o w . c o m Page 353 Some battery manufacturers make direct converters from one voltage to another. If you have access to it,

w w w . w o l f c r o w . c o m Page 354 A typical battery on a broadcast camera helps it become ‘center-back’ heavy. A smaller, lighter battery

w w w . w o l f c r o w . c o m Page 355 For all things related to professional battery systems, I prefer Anton Bauer. To know how to put togethe

w w w . w o l f c r o w . c o m Page 356 This fits at the bottom, and comes with two trays – one for the original battery and another for 8 AA bat

w w w . w o l f c r o w . c o m Page 357 We now have enough information to put together our own system. Let’s put it to the test! For practice, l

w w w . w o l f c r o w . c o m Page 358 We know that the Canon C300 needs 11.7 Watts, so for every hour we’ll need to supply the camera body with

w w w . w o l f c r o w . c o m Page 35 well. The crop factor is one way to directly compare lenses. How? While comparing two sensors of different

w w w . w o l f c r o w . c o m Page 359 4:2:2 codec. But let’s complicate matters a bit. I have a major choice to make – Separate batteries for e

w w w . w o l f c r o w . c o m Page 360 I have also listed the battery option listed with each device. For the monitor and EVF, I’ve listed the

w w w . w o l f c r o w . c o m Page 361 It becomes pretty obvious that all the four devices can be powered by one brick, and that would be the mos

w w w . w o l f c r o w . c o m Page 362 Putting together the system So, we’re set. The total power on the rig is 47.6 W, or about 50 Watts. With

w w w . w o l f c r o w . c o m Page 363 That’s about $3,500 at the time of this writing. To charge these bricks, I’ll need a dual charger, the An

w w w . w o l f c r o w . c o m Page 364 Image Courtesy: Anton Bauer To connect to the monitor, I use the free Marshall Power tap to XLR adapter

w w w . w o l f c r o w . c o m Page 365 The Cineroid comes with a free D-tap to mini-XLR adapter so I don’t need to buy anything extra. Here’s th

w w w . w o l f c r o w . c o m Page 366 One battery at full charge will power both camera and monitor for 1.75 hours (1 hour and 45 minutes). That

w w w . w o l f c r o w . c o m Page 367  Are you comfortable juggling many batteries and keeping tabs on charging them?  Is luggage weight a c

w w w . w o l f c r o w . c o m Page 368 Chapter 15 Laying Out the Rig If things are left to themselves, they tend to lump into a spherical form:

w w w . w o l f c r o w . c o m Page 36 The third column is the diagonal size of the sensor, in mm. FF has a diagonal of 43.27mm, and this is di

w w w . w o l f c r o w . c o m Page 369 Storm image courtesy: University of Wisconsin Cooperative Institute for Meteorological Satellite Studies

w w w . w o l f c r o w . c o m Page 370 For practical reasons, we can’t get our gear into a spherical shape, nor is it ideal in more circumstanc

w w w . w o l f c r o w . c o m Page 371 With so many forces acting on his arms, it’s no wonder our Vitruvian Man is upset. Look at the left side

w w w . w o l f c r o w . c o m Page 372 Imagine someone standing in a subway train, hanging off the top rails. Her body forces a downward force at

w w w . w o l f c r o w . c o m Page 373 Courtesy: Schweizerhaus, Vienna, Austria photographer: Clemens Pfeiffer, 1190 Wien

w w w . w o l f c r o w . c o m Page 374 Not the beer! If he is holding the tray at a slight angle, one component of the weight is distributed alo

w w w . w o l f c r o w . c o m Page 375 When your arms are below the height of your shoulders, it’s better to push than to pull (think about carry

w w w . w o l f c r o w . c o m Page 376 spine – I’m not a doctor so don’t hold me to that. Each individual is different – some of us slouch a bit,

w w w . w o l f c r o w . c o m Page 377 A supreme example of this in practice is formal dancing or gymnastics. The right posture also happens to l

w w w . w o l f c r o w . c o m Page 378

w w w . w o l f c r o w . c o m Page 37 comparing the size of that sensor to 35mm FF. In this case, the diagonal of this sensor is 1.6 times smalle

w w w . w o l f c r o w . c o m Page 379 F1 What happens when one end is heavier than the other? The force that acts upwards and downwards due to

w w w . w o l f c r o w . c o m Page 380 F3 What happens when the rig has to tilt a bit (which it will, when it’s always in motion in a handheld p

w w w . w o l f c r o w . c o m Page 381 counteract an unbalanced F1 load. You’ll need wrist, finger and forearm strength to counteract F2. You’ll

w w w . w o l f c r o w . c o m Page 382 opposed to an unnatural pain caused by incorrect force or motion. What does a perfect rig feel like at th

w w w . w o l f c r o w . c o m Page 383 The blue triangle is the Fulcrum. For a tripod setup it is the point where the tripod head is connected

w w w . w o l f c r o w . c o m Page 384 Most professional broadcast cameras are designed to operate like class-1 systems, like this one:

w w w . w o l f c r o w . c o m Page 385 Notice how the body and battery parts are heavy enough to balance the weight of the lens. Even though one

w w w . w o l f c r o w . c o m Page 386

w w w . w o l f c r o w . c o m Page 387 The red lines are the weights (resistance). The green lines are the effort lines, and the blue lines are m

w w w . w o l f c r o w . c o m Page 388 possible scenario. This system is a class-2 system. This is what it looks like: As you can imagine, any

w w w . w o l f c r o w . c o m Page 38 Angle of View The ‘coverage’ of a scene you want to see on the final image is determined by the angle of v

w w w . w o l f c r o w . c o m Page 389 Steadicam can be considered a complex design that incorporates at least two lever classes, if not three

w w w . w o l f c r o w . c o m Page 390 Not so good – Class Three - Carrying, steadicam rigs, etc. Worst – Class Two - Palm-corders, single hande

w w w . w o l f c r o w . c o m Page 391 One of the most complex cameras to rig together is the Red Epic, and that is what I’ll use as an example.

w w w . w o l f c r o w . c o m Page 392 I’ll be directing, interviewing and wrangling. My DP will operate the camera, of course, and he’ll need an

w w w . w o l f c r o w . c o m Page 393  We need a rig that can be set up and dismantled in minutes  We need the least number of components o

w w w . w o l f c r o w . c o m Page 394 Ergonomics From the chapter on Ergonomics, I learn that the Red Epic is a modular camera, which means I’m

w w w . w o l f c r o w . c o m Page 395 We opt for the side handle module so we can use it as a stills camera and hold a spare battery. Our core c

w w w . w o l f c r o w . c o m Page 396 Zooms: Angenieux Optimo 15-40mm T/2.6 and Angenieux Optimo 45-120mm T/2.8 Prime Kit: Red Pro Primes

w w w . w o l f c r o w . c o m Page 397 a 117.4mm diameter, so we decide we’ll hack our way when we get to it. We opt for the Arri Red Epic light

w w w . w o l f c r o w . c o m Page 398 Media, Recorder and Data Management Recording We agree on two recording formats for this production: 1.

w w w . w o l f c r o w . c o m Page 3 This ebook includes a number of affiliate links, from which I get a small percentage of anything you buy. Th

w w w . w o l f c r o w . c o m Page 39 Let’s say a 50mm lens has a horizontal AOV of 40º on a FF sensor. If I want to use this lens on a Blackmagi

w w w . w o l f c r o w . c o m Page 399 I feel we should clear about 10 setups or more per day. Using the second formula, I get the card size per

w w w . w o l f c r o w . c o m Page 400 Data Management From the chapter on Data Management, I know, to read Redcode files I’ll need the 1.8″ Red

w w w . w o l f c r o w . c o m Page 401 Therefore, it looks like we’ll need 15 (12+3 for backup) x 1 TB drives just for the post house. For locat

w w w . w o l f c r o w . c o m Page 402 I vacillate regarding the Meizler module. It’s an added expense, but real-time proxies will save us a lot

w w w . w o l f c r o w . c o m Page 403 My choices are either a Blackmagic Design HyperDeck Shuttle 2, the Sound Devices PIX 240i, or the Atomos

w w w . w o l f c r o w . c o m Page 404 drives for it. Luckily, the Pix can record to CF cards, so I use the same principle I’ve mentioned earlier

w w w . w o l f c r o w . c o m Page 405 Hopefully, I might get 5 or 6 hours of sleep. You can appreciate how shooting 5K on a Red Epic can get sca

w w w . w o l f c r o w . c o m Page 406 Unfortunately the Epic has only one HD-SDI port. Luckily, the Sound Devices Pix 240i has an HD-SDI out so

w w w . w o l f c r o w . c o m Page 407 One ‘downside’ is it only outputs 300 nits, which I think is on the lower side for outdoor focus pullin

w w w . w o l f c r o w . c o m Page 408 The two things I need to be concerned about are timecode and sync. If done right, I want audio with my pro

w w w . w o l f c r o w . c o m Page 40 length. In this case, 50mm x 2.28 = 114mm. This is not an exact science, so you shouldn’t be surprised if

w w w . w o l f c r o w . c o m Page 409 sure you’ve planned everything well. This is how mine turned out: The Red Epic has an internal clock, b

w w w . w o l f c r o w . c o m Page 410 The uncompressed audio is recorded on separate CF cards by the Sound guy. He doesn’t like anybody touching

w w w . w o l f c r o w . c o m Page 411 The total power draw is about 110 Watts, which means for each hour it’ll run I must estimate for a 110 W

w w w . w o l f c r o w . c o m Page 412 since I will be in areas with unreliable power, possibly with fluctuating voltage, I also carry a few surg

w w w . w o l f c r o w . c o m Page 413 me 2 hours. I’ll need about 7 of these on a 12-hour shoot, because there’s no way I can assume I’ll find a

w w w . w o l f c r o w . c o m Page 414 charged while being connected to the brain or via a USB port. Don’t forget there are many accessories th

w w w . w o l f c r o w . c o m Page 415 Finding the center of gravity Don’t worry, it’s not as hard as it looks! When you have objects of diffe

w w w . w o l f c r o w . c o m Page 416 Each object has a weight, W1, W2, W3, etc. Correspondingly, the distance from the datum to the center of g

w w w . w o l f c r o w . c o m Page 417 On a shoulder rig, the center of gravity should fall on the shoulder/spine. When you take your arms off th

w w w . w o l f c r o w . c o m Page 418 Balancing the Red Epic Did I scare you? Never fear, it’s super easy. Let’s take it one at a time:

w w w . w o l f c r o w . c o m Page 41 One more thing: 35mm equivalent traditionally refers to lenses compared to a FF sensor, and never to Super

w w w . w o l f c r o w . c o m Page 419 Start with what HAS to go together The brain, SSD module, Side handle, Redmote, Redvolt, PL mount and Red

w w w . w o l f c r o w . c o m Page 420 changes or the weight changes, and one does not correspond exactly to the other in our case. E.g., the Red

w w w . w o l f c r o w . c o m Page 421 it a general location in relation to the shoulder pad. Underneath all this, are two 15″ 240mm steel rods

w w w . w o l f c r o w . c o m Page 422 of the camera (red) and shoulder pad (orange). If you look at camera systems designed for shoulder use, l

w w w . w o l f c r o w . c o m Page 423 weights will also increase the total weight of the rig. It’s okay if your operator is a green monster; min

w w w . w o l f c r o w . c o m Page 424 rear of the brain. Easier cable management, this way. The battery goes underneath the rod, so it can be r

w w w . w o l f c r o w . c o m Page 425 The same 240mm rods on the front won’t be enough to counter-balance the rig, so I opt for 15mm rods instea

w w w . w o l f c r o w . c o m Page 426 Please don’t take these calculations at face value. It might be wrong, or inapplicable in your case. Ma

w w w . w o l f c r o w . c o m Page 427 The latter problem is negligible. It is preferable to have the rig leaning in slightly than twisting out.

w w w . w o l f c r o w . c o m Page 428 Maybe I can. All I need to do is adjust the EVF accordingly – that’s why it has an arm and an attachment t

w w w . w o l f c r o w . c o m Page 42 the Artemis Director’s Viewfinder for IOS and Android. The lens mount The lens mount is a construction th

w w w . w o l f c r o w . c o m Page 429 How is the lens and matte box supported? We aren’t using any heavy zooms so we don’t need 19″ rods or len

w w w . w o l f c r o w . c o m Page 430 Ideally, you’d want your elbows against your torso, exactly how DSLR still photographers are advised to ho

w w w . w o l f c r o w . c o m Page 431 other things one might add in the future, the rig shouldn’t breach the 15 kg mark (about 33 lbs). What do

w w w . w o l f c r o w . c o m Page 432 Chapter 16 Baseplates, Bridgeplates and Rods A plate is an interface – which means it’s a thing that come

w w w . w o l f c r o w . c o m Page 433  Must provide sufficient friction at every face to reduce play.  Must be compatible with all the comm

w w w . w o l f c r o w . c o m Page 434 Bridge plate A bridge plate tends to be bigger than a base plate, but it serves the same basic function.

w w w . w o l f c r o w . c o m Page 435 Quick release plate A quick release plate is a base plate designed to be slid off and on a mount. Once

w w w . w o l f c r o w . c o m Page 436 Right angle plate This is usually found in photography, when one wants to quickly change the orientatio

w w w . w o l f c r o w . c o m Page 437 Cheese plate A cheese plate is, well, a plate with holes (which is why it looks like cheese). This plate

w w w . w o l f c r o w . c o m Page 438 Rod Connector or Support Most plates are used with rods on a rig, which means they need an interface of

w w w . w o l f c r o w . c o m Page 43 A lens mount can also have other useful features, like electrical contacts (the gold contacts in the image)

w w w . w o l f c r o w . c o m Page 439 and must be strong enough to securely hold the rods in place without any play whatsoever. Thousands of dol

w w w . w o l f c r o w . c o m Page 440 Another version of the lens support: Having a lens support is crucial with heavier lens. You don’t want

w w w . w o l f c r o w . c o m Page 441 A single connector is a quick way to latch a small piece of gear (like a remote, GPS device, etc.) on to o

w w w . w o l f c r o w . c o m Page 442 The insides of the ends of each rod are usually screw threads to take in extensions. If you want to make t

w w w . w o l f c r o w . c o m Page 443  1/4″-20 UNC  3/8″-16 UNC If you look carefully at most of the connectors and plates in this chap

w w w . w o l f c r o w . c o m Page 444 Chapter 17 Cages and Articulating Arms A cage is what you get when you have cheese plates all over your c

w w w . w o l f c r o w . c o m Page 445 Or you could have a full tactical cage like this one from Red: Whatever your purpose, the primary aim of a

w w w . w o l f c r o w . c o m Page 446 above. I don’t know about you, but I find this kind of design limits the ergonomics considerably. Can I us

w w w . w o l f c r o w . c o m Page 447 One use of a cage is you could hold it like a steering wheel, like this one from Zacuto: Look! You don’t

w w w . w o l f c r o w . c o m Page 448 If you want to protect your production, buy insurance and bring spares. If you want to protect your camer

w w w . w o l f c r o w . c o m Page 44 Here’s a table that shows the cameras chosen for this guide, and the lens mounts on them: Here’s informati

w w w . w o l f c r o w . c o m Page 449 To make this possible, the arm, like the Zacuto Zamerican V3 12 inch Articulating Arm, has chrome balls

w w w . w o l f c r o w . c o m Page 450 position of the EVF so it sits perfectly in relation to your eye. The arm can also be used for external mo

w w w . w o l f c r o w . c o m Page 451 We’ve covered the most important components of any rig. Before looking at rigs for specific scenarios, we

w w w . w o l f c r o w . c o m Page 452 Chapter 18 Handy tools for Rigging Most well-made rigs and accessories can be attached and detached witho

w w w . w o l f c r o w . c o m Page 453 What else can they do? Coins are very versatile. You could:  Use it as a spacer or riser  Use it a

w w w . w o l f c r o w . c o m Page 454 Victorinox Swiss Army Champion Plus Pocket Knife Flashlight Don’t assume flashlights are only for nig

w w w . w o l f c r o w . c o m Page 455 Energizer Weatheready Compact 3-LED Safety Flashlight When it’s really night, you need: Dorcy 180 Lume

w w w . w o l f c r o w . c o m Page 456 Boxer 30 Pcs 4mm Precision Screwdriver Set Dewalt 3 Pack Compound Pliers

w w w . w o l f c r o w . c o m Page 457 30 Pc Allen Wrench Set GearWrench 7 Piece Wrench Set Hand Gloves Keep your hands safe and clean, a

w w w . w o l f c r o w . c o m Page 458 Mechanix Wear Glove Ruler, Measuring Tape and Protractor To go straight: Komelon Monster MagGrip 3

w w w . w o l f c r o w . c o m Page 45 FZ Sony PMW-F3 mount 18 m43 Micro Four Thirds mount 19.25 M Leica M mount 27.8 FT Four Thirds mount 38.67 F

w w w . w o l f c r o w . c o m Page 459 Bosch Digital Distance Measurer Kit To bend around corners: Leica Disto D5 Digital Laser Rangefinder

w w w . w o l f c r o w . c o m Page 460 Starrett ProSite Protractor Weighing Scale and Weights American Weigh Scale

w w w . w o l f c r o w . c o m Page 461 Cylindrical Calibration Weight, 1000 grams Hammer Stanley Fiberglass Hammer Gaffer/Duct tape

w w w . w o l f c r o w . c o m Page 462 3M Scotch Duct Tape Cable ties, Scissors and Rope 8″ Plastic Cable Zip Ties 100-Pack Sometimes n

w w w . w o l f c r o w . c o m Page 463 Fiskars Titanium Nitride 9.5″ Shop Shears 3/8 Inch 50 Foot Rope Apple Boxes and Foldable Step Lad

w w w . w o l f c r o w . c o m Page 464 Multi-Purpose Multiple Position 12 Step Aluminum Folding Ladder Tags When you have lots of gear, it

w w w . w o l f c r o w . c o m Page 465 Scotch Bag Tags Black Direct Thermal Consignment Style Tags Plastic Sheets and Yoga Mat Want to si

w w w . w o l f c r o w . c o m Page 466 Warp Brothers Roll Black Plastic Sheeting ProSource Premium 1/2-Inch Yoga Mat Utility Belt Carry

w w w . w o l f c r o w . c o m Page 467 Lowepro Utility Belt for Photographers Eye Protection Goggles and Binoculars DEWALT Anti-Fog Safety Go

w w w . w o l f c r o w . c o m Page 468 Clamps and Clips TEKTON 6-Inch Heavy Duty “C” Clamp Cosmos Heavy Duty retractable Reel with Belt Clip

w w w . w o l f c r o w . c o m Page 46 lower this distance, the more universal your mount. What does that mean? E.g., You can’t use Canon EF moun

w w w . w o l f c r o w . c o m Page 469 Scotty Tarp Clip Black Cloth to wipe off sweat Carry as many as you can: Aqua Sphere Aqua Dry Towel

w w w . w o l f c r o w . c o m Page 470 Lubricant Lubegard Universal Lubricant A Smartphone and this Rigging Guide! What can I say? A smar

w w w . w o l f c r o w . c o m Page 471 Apple iPhone 5 Don’t forget to upload the PDF version of this guide, as soon as it becomes available in

w w w . w o l f c r o w . c o m Page 472 Chapter 19 Shoulder Rigs When you invest in a rig, you probably have two prime considerations, one of whi

w w w . w o l f c r o w . c o m Page 473 For this reason, I have divided this chapter into the following areas:  DSLR Rigs ($1,000 to $3,000 cam

w w w . w o l f c r o w . c o m Page 474 Image Courtesy: sv:Användare:Chrizz, 27 maj 2005 Very few individuals have traps (trapezius muscles) tha

w w w . w o l f c r o w . c o m Page 475 component to the ‘sliding off’ force. It just makes it worse! In my opinion, ‘mis-balancing’ the rig isn’

w w w . w o l f c r o w . c o m Page 476 DSLR Rigs ($1,000 to $3,000 camera budget) Cameras in this guide: All the DSLRs and the BMCC Have less

w w w . w o l f c r o w . c o m Page 477 Less than $1,000? Genus GL GCSMK Camera Shoulder Mount System More than $1,000? When using the LCD or

w w w . w o l f c r o w . c o m Page 478 For the tall DSLRs on the list, namely the Nikon D4 and the Canon 1DX, try this:

w w w . w o l f c r o w . c o m Page 47 focal distance the lens is designed for will take this into account. However, using such a lens on a camera

w w w . w o l f c r o w . c o m Page 479 As we seen in the chapter on Ergonomics, the DSLRs weigh from 392 g (GH2) to 1,700 g (BMCC). A 50mm f/1.8

w w w . w o l f c r o w . c o m Page 480 longish FS700 over the tall C100, I’ll choose the former. As I’ve said already, I find the tall body form

w w w . w o l f c r o w . c o m Page 481 More than $1,000? Flashpoint HD Video Pro Supreme Another option: Lanparte Pro Camera Rig

w w w . w o l f c r o w . c o m Page 482 The only reason this is a separate category is the budget. More expensive cameras are not necessarily heav

w w w . w o l f c r o w . c o m Page 483 Red users can also try the Clutch:

w w w . w o l f c r o w . c o m Page 484 Both the Alexa and Sony weigh over 5 kg, body only. Imagine what they would weigh fully loaded! If money

w w w . w o l f c r o w . c o m Page 485 Chapter 20 Palmcorder and Steadicam Rigs None of the cameras in this guide can be used like a consumer

w w w . w o l f c r o w . c o m Page 486 Here are some options:  DSLRs – This looked promising for a while, but the videos have been removed and

w w w . w o l f c r o w . c o m Page 487 Whatever the purpose, I only recommend these rigs (collectively called ‘Palmcorder’) for short bursts of s

w w w . w o l f c r o w . c o m Page 488 Less than $200 ePhoto DSLR Rig Chest Camera Stabilizer Less than $500 Zacuto Z-DTS Target Shooter

w w w . w o l f c r o w . c o m Page 48 Other than the physical nature of the connection, adapters can also provide electrical contacts to pass o

w w w . w o l f c r o w . c o m Page 489 Less than $1,000 Zacuto Z-DSLR-TS DSLR Gunstock Tactical Shooter Gorilla Kit More than $1,000 Zacuto

w w w . w o l f c r o w . c o m Page 490 For steering-wheel setups, try these: Less than $100 Fancierstudio FL01 DSLR Rig More than $100 Zac

w w w . w o l f c r o w . c o m Page 491 Stabilizers or Steadicam Rigs Single hand DSLR stabilizers Opteka SteadyVid PRO Video Stabilizer System

w w w . w o l f c r o w . c o m Page 492 Steadicam Professional Video Stabilizers Merlin 2 Prosumer-level stabilizers For prosumer cameras, as

w w w . w o l f c r o w . c o m Page 493 Glidecam HD-4000 Hand-Held Stabilizer Holding 10 pounds is no joke. For long use, you’ll need a full s

w w w . w o l f c r o w . c o m Page 494 Heavy, up to 10 kg (22 lbs) Basson Steady System Heavy, up to 16 kg (35 lbs) Basson Steady System Co

w w w . w o l f c r o w . c o m Page 495 If you remember, our Red Epic rig weighed in at 15 kg. An Alexa with a big zoom will almost double that.

w w w . w o l f c r o w . c o m Page 496 Chapter 21 Tripods, Heads and Tripod Rigs A tripod must be heavy enough not to topple over or vibrate

w w w . w o l f c r o w . c o m Page 497 super smooth for steady pans, tilts, etc. The tripod legs must be able to handle the weight of the rig, th

w w w . w o l f c r o w . c o m Page 498 All said and done, I’d prefer at least a monopod over the ‘DSLR grip’ or the BMCC handle bar. There are a

w w w . w o l f c r o w . c o m Page 4 Table of Contents Chapter Title Page 1 Introduction to Rigging 7 2 Ergonomics 15 3 Lenses 30 4 Matte Boxe

w w w . w o l f c r o w . c o m Page 49 trend in the digital age has always been of protecting proprietary information rather than sharing it, so a

w w w . w o l f c r o w . c o m Page 499 Tripods and Heads Tripods come in many materials and designs. Generally, other than three legs, I like my

w w w . w o l f c r o w . c o m Page 500 gear almost immediately pine for the next bigger model. For DSLR, BMCC and Prosumer setups: Manfrotto 5

w w w . w o l f c r o w . c o m Page 501 (44 lbs). It gives a maximum height of 59 inches (5 feet). For heavier Prosumer setups: A full prosumer

w w w . w o l f c r o w . c o m Page 502 Sachtler 18 S1 SL MCF, with Speed Lock CF HD Tripod You’ll find cheaper solutions and more expensive on

w w w . w o l f c r o w . c o m Page 503 Up to 40 kg (88 lbs) O’ Connor 30L Carbon Fiber Tripod O’ Connor Ultimate 2575D Fluid Head

w w w . w o l f c r o w . c o m Page 504 For a more versatile fluid head capable of up to 50 kg (110 lbs), with geared pan and tilt movements, try

w w w . w o l f c r o w . c o m Page 505 100 kg (220 lbs) + O’ Connor Cine HD O’ Connor 120EX Fluid Head

w w w . w o l f c r o w . c o m Page 506 Hi Hat or Low Base A Hi Hat or Low Base is a mini-tripod that can almost go to ground level. A fully rigg

w w w . w o l f c r o w . c o m Page 507 For a heavy-duty system, you might want to look at the: O’ Connor CineHD Baby Finally, don’t forget to f

w w w . w o l f c r o w . c o m Page 508 ePhoto Sand Bags These can take 10 kg (about 22 lbs) of sand and hold your tripods rock steady. We’ve

w w w . w o l f c r o w . c o m Page 50 I’ve had limited success with adapters, especially cheap versions, so if you just want a manual ‘dumb’ adap

w w w . w o l f c r o w . c o m Page 509 Chapter 22 Dollies and Sliders Slider DSLR rigs are mostly about a minimal crew working quickly. Corpora

w w w . w o l f c r o w . c o m Page 510  Geared if possible, with varying speeds  Motorized if possible, for controlled smooth movements 

w w w . w o l f c r o w . c o m Page 511 $300 to $500 Glidetrack HD 39 inch (1m) Heavy Duty Slider

w w w . w o l f c r o w . c o m Page 512 Konova Slider K5 120 (47.2 inch) $500 to $1,000 Kessler Stealth (Standard Length) Slider The abov

w w w . w o l f c r o w . c o m Page 513 $1,000 + Kessler CineSlider For motorized sliding, add an ElektraDrive Oracle system to your slider. Th

w w w . w o l f c r o w . c o m Page 514 Cinevate Atlas 200 – 60-Inch Here’s a video with more info: http://www.youtube.com/watch?v=6mvvsSKZGuM

w w w . w o l f c r o w . c o m Page 515 Table-top Dollies For quick movements in places you otherwise can’t reach, a table-top dolly might be use

w w w . w o l f c r o w . c o m Page 516 absolute control over it. Anything less is unacceptable. Studio Dollies Studio dollies usually have to

w w w . w o l f c r o w . c o m Page 517 If you’re embarrassed to use a wheelchair or want more control, you can build your own dolly. Here’s a vid

w w w . w o l f c r o w . c o m Page 518 If you need total control, you’ll appreciate a professional camera dolly. Professional film studio doll

w w w . w o l f c r o w . c o m Page 51 Micro Four Thirds mount Fotodiox, Novoflex, Zeiss, Voigtlander Canon EOS EF mount Fotodiox, Novoflex, Leita

w w w . w o l f c r o w . c o m Page 519 Image Courtesy: Schlaier Tracks can be straight or round/curved. Tracks have two main advantages:  Re

w w w . w o l f c r o w . c o m Page 520 http://www.youtube.com/watch?v=MCt8zlul0TU The key word for dollies is: Smooth. If it’s not smooth then w

w w w . w o l f c r o w . c o m Page 521 Chapter 23 Jibs and Cranes A jib or crane extends the height and reach of a camera. A good one also

w w w . w o l f c r o w . c o m Page 522 Pan/Tilt Head What if you want to control the movements remotely? For that we have a motorized pan/tilt h

w w w . w o l f c r o w . c o m Page 523 Less than $2,000 Kessler Pocket Jib Less than $5,000 Libec Swift Jib50 Kit

w w w . w o l f c r o w . c o m Page 524 Less than $10,000 Varizoom VZSNAPCRANE16-100 Snapcrane Greater than $10,000 Jimmy Jib Triangle:

w w w . w o l f c r o w . c o m Page 525 The Jimmy Jib Triangle is probably one of the most versatile jibs out there. it can reach 40 feet and ca

w w w . w o l f c r o w . c o m Page 526 If you want to go old-school, and need the reach of a brontosaur, then take a look at this 85′ monster: A

w w w . w o l f c r o w . c o m Page 527 Jibs are good to look at, but are not very economical to own if you’re a filmmaker with other important pr

w w w . w o l f c r o w . c o m Page 528 Chapter 24 Underwater Rigs Can everyone become a good underwater filmmaker? No, not really. I’m no expert

w w w . w o l f c r o w . c o m Page 52 Only when ‘direct’ options are unacceptable should you consider adapting lenses. Why? You’ll probably need

w w w . w o l f c r o w . c o m Page 529  Must show LCD display or provide for external display  Good grip  Option to connect to operator’s

w w w . w o l f c r o w . c o m Page 530  Housing – the waterproof compartment in which the camera body sits.  Arms – used to attach lights,

w w w . w o l f c r o w . c o m Page 531  Flat Port – used mainly with telephoto or macro lenses. Not preferred for high-end work.  Dome or St

w w w . w o l f c r o w . c o m Page 532  Ikelite Canon 60D  Gibson Pro Panasonic GH2 For the bigger DSLRs, try these:  Aquatica for C

w w w . w o l f c r o w . c o m Page 533 are better than their cheaper brethren. Like everything else on your rig, these need testing too. For the

w w w . w o l f c r o w . c o m Page 534  BMCC – fat chance. The touchscreen makes it very difficult to design a housing rig. We’ll need somethin

w w w . w o l f c r o w . c o m Page 535 For the Alexa try Hydroflex: If you don’t want to buy a housing, then you could make one: http://www.y

w w w . w o l f c r o w . c o m Page 536 External monitor casing Take a look at the Wahoo Monitor Casing for the Sony CLM-V55 5-Inch LCD Monitor.

w w w . w o l f c r o w . c o m Page 537 Tripod If you’re shooting the ocean floor you’ll appreciate a tripod made especially for the sea. Check

w w w . w o l f c r o w . c o m Page 538 is). Many newbies forget this vital piece of gear, and miss the brilliant colors of the sea as a result. T

w w w . w o l f c r o w . c o m Page 53 back element of the lens. These are called Extension Tubes. Extension tubes come in various lengths, depen

w w w . w o l f c r o w . c o m Page 539 Chapter 25 Aerial and Vehicle Rigs Vehicle Rigs You can rig a camera on a vehicle in a million ways, and

w w w . w o l f c r o w . c o m Page 540 Alan Gordon Enterprises Super Grip 2 Support System With lightweight cameras weighing less than 7 kgs (1

w w w . w o l f c r o w . c o m Page 541 For heavier cameras, take a look at the Filmtools Medium-Weight Professional Camera Mount Kit: Here’s a

w w w . w o l f c r o w . c o m Page 542 Here’s an example of a company specializing in vehicle rigging. Think twice before you plan that cool car

w w w . w o l f c r o w . c o m Page 543 Shakes are magnified on camera. There’s no way to speed up the aircraft if you’re shooting a particular la

w w w . w o l f c r o w . c o m Page 544 This is the same principle used in steadicams or other camera stabilization systems. The objective is to i

w w w . w o l f c r o w . c o m Page 545 Image Courtesy: Wildnrg These systems, called Multirotors, are mechanically simpler than helicopters, an

w w w . w o l f c r o w . c o m Page 546  Navigation control system – information on position, pressure, altitude, etc. The multirotor is cont

w w w . w o l f c r o w . c o m Page 547 For heavier cameras like the Arri Alexa, try the Cineflex Elite or the Aerial Exposures LSG-2 system. For

w w w . w o l f c r o w . c o m Page 548 Chapter 26 Stereoscopy Rigs To understand the basics of stereoscopy, depth, parallax, the inter-ocular di

w w w . w o l f c r o w . c o m Page 54 usually no reason to opt for third-party systems. Third-party manufacturers known to make cheap but reliabl

w w w . w o l f c r o w . c o m Page 549 from the camera. If you’re shooting narrative fiction, this is tough to pull off. In any case, the first

w w w . w o l f c r o w . c o m Page 550 Toeing in is a controversial subject. Not everyone agrees whether or not this is necessary on set. Some fe

w w w . w o l f c r o w . c o m Page 551 Digital. Keeping its aesthetic merit aside, it is extremely beneficial in avoiding temporal artifacting an

w w w . w o l f c r o w . c o m Page 552 For a brief overview of 3D solutions pertaining to zoom and focus control, check out this PDF. Rules of t

w w w . w o l f c r o w . c o m Page 553 For a bare bones setup, if you’re not varying the convergence at all, you could do with a rig on rods with

w w w . w o l f c r o w . c o m Page 554 3alityTechnica TS-4 Beamsplitter Rigs Beamsplitter rigs are more complex beasts. The most important c

w w w . w o l f c r o w . c o m Page 555 The big disadvantage of the beamsplitter setup is that the amount of light hitting the lens is reduced, an

w w w . w o l f c r o w . c o m Page 556 Hurricane 3D Camera Rig For the Red cameras, the 3alitytechnica Atom is perfect. For the best possible

w w w . w o l f c r o w . c o m Page 557 3alitytechnica Quasar To take the beamsplitter underwater, check out the Gates Deep Rig for the 3alityt

w w w . w o l f c r o w . c o m Page 558 Then there is the problem of what viewing method to adopt: Autosteroscopic (no glasses), anaglyph, polariz

w w w . w o l f c r o w . c o m Page 55 f/5.6, say, but due to unforeseen factors you are forced to wait till dusk to shoot the same scene. If you

w w w . w o l f c r o w . c o m Page 559 Marshall 3D Monitor For a general system that is versatile, try the 3D Indie Viewer:

w w w . w o l f c r o w . c o m Page 560 For basic data processing up to 2K on set, try the: Davio 3D Processor If you want to process HD-SDI Lef

w w w . w o l f c r o w . c o m Page 561 Matrox MXO2 LE Max with Thunderbolt Adapter This system can be used for monitoring or creation of dailie

w w w . w o l f c r o w . c o m Page 562 3alitytechnica Stereo Image Processor system We are done with rigs, believe it or not. Next we’ll look

w w w . w o l f c r o w . c o m Page 563 Chapter 27 Streaming Solutions When data flows, it is already streaming. In the context of video, this ch

w w w . w o l f c r o w . c o m Page 564 Your camera produces data. This data is encoded (transcoded or converted) into a format suitable for wirel

w w w . w o l f c r o w . c o m Page 565 For wireless on set, create a wi-fi hotspot or zone, and the data will be confined to this region. Since

w w w . w o l f c r o w . c o m Page 566  Maximum data rate falls with distance  Flaky Security As I have discussed in my post on uncompres

w w w . w o l f c r o w . c o m Page 567 Except for the cameras recording RAW, uncompressed and Prores 4444, all other codecs fall within this rang

w w w . w o l f c r o w . c o m Page 568 Teradek Cube HD-SDI and Teradek Cube HDMI The Cube compresses data in the H.264 codec to up to 10 Mbps (

w w w . w o l f c r o w . c o m Page 56 photography? Would they have abandoned Citizen Kane? Of course not, they would have shot at a larger apertu

w w w . w o l f c r o w . c o m Page 569 Teradek Cube HD-SDI Encoder/Decoder This way, an SDI monitor can be used to monitor your feed remotely

w w w . w o l f c r o w . c o m Page 570 Is all this in real-time? No. The latency introduced by this system is around 1/8th to 1/2 a second. If yo

w w w . w o l f c r o w . c o m Page 571 Cheaper alternative for DSLRs What if you have HDMI but can’t afford a professional solution? Check this

w w w . w o l f c r o w . c o m Page 572 Actually this advice is applicable for any wireless solution in general. Even the most expensive solutions

w w w . w o l f c r o w . c o m Page 573 times when the traffic forces the actual speed to be much lower. For these reasons and more, I put a 1 Mb

w w w . w o l f c r o w . c o m Page 574 Do it yourself with a CDN CDN stands for Content Delivery Network. It’s a service that holds your data an

w w w . w o l f c r o w . c o m Page 575 What’s your data plan per month? What’s the fair use policy of your internet provider? Do you understand

w w w . w o l f c r o w . c o m Page 576 Rule of thumb: The advantage of DIY is that you have total control over how your video is encoded, package

w w w . w o l f c r o w . c o m Page 577 Telestream Wirecast Use an OVP OVP stands for Online Video Provider. Youtube is one, but doesn’t excl

w w w . w o l f c r o w . c o m Page 578 For a simple encoder for basic live streaming, try this: Livestream Broadcaster For a full profession

w w w . w o l f c r o w . c o m Page 57

w w w . w o l f c r o w . c o m Page 579 consider your business if your data is not in the order of Terabytes per year. Whether DIY or OVP, choos

w w w . w o l f c r o w . c o m Page 580 Chapter 28 Bags and Cases In this chapter I’ll cover Bags, Cases and Transportation for your gear. I cho

w w w . w o l f c r o w . c o m Page 581 you’re a working professional your bag is going to get jaded pretty fast. Which way should your camera

w w w . w o l f c r o w . c o m Page 582 Bagonomics, or “What goes where in a bag”? Rule of thumb: Place your center of gravity in the bottom midd

w w w . w o l f c r o w . c o m Page 583 higher up, any small change in your movement will make it tougher to pull. For carrying: If you’re carry

w w w . w o l f c r o w . c o m Page 584  Single person airline  Full cargo This is a highly generalized guideline – you can always make th

w w w . w o l f c r o w . c o m Page 585 Think Tank Retrospective 10, Pinestone Videographer Of course the previous example will hardly do for v

w w w . w o l f c r o w . c o m Page 586 This bag will do perfectly from DSLRs to prosumer cameras all the way up to a Red Epic or Scarlet. Backp

w w w . w o l f c r o w . c o m Page 587 Lowepro Pro Trekker 600 AW Camera Backpack Single Person or Airline This is for a one-person crew who t

w w w . w o l f c r o w . c o m Page 588 carry it on his/her back. We can go two ways: Carry-on baggage Think Tank Airport International V 2.0 Th

w w w . w o l f c r o w . c o m Page 58 We all pine for the day when we’ll have full control over our depth of field, and don’t have to stop up or

w w w . w o l f c r o w . c o m Page 589 baggage racks, so please check with your airline before you pack any gear. Check-in baggage These bags b

w w w . w o l f c r o w . c o m Page 590 Yet, they have to be rolled in airports for comfort. At this point, it might be a good idea to go sturdier

w w w . w o l f c r o w . c o m Page 591 Here’s how I do it:  Airports and/or client trips – hard cases or formal bags with wheels  Car trave

w w w . w o l f c r o w . c o m Page 592 Pelican 1650 Case w/Foam Pelican 1659 Lid Organizer

w w w . w o l f c r o w . c o m Page 593 Pelican makes them in various standard sizes. These can also be custom built. Having your gear in these li

w w w . w o l f c r o w . c o m Page 594 Usually rack cases are custom-built based on each project’s requirements. The options given above should

w w w . w o l f c r o w . c o m Page 595 But there’s something close. My choice for a small crew would be the versatile van: This isn’t new. Mos

w w w . w o l f c r o w . c o m Page 596  Its top is a solid platform with many uses, one of which you can see in the above image! Before you

w w w . w o l f c r o w . c o m Page 597 Chapter 29 Miscellaneous Gear Teleprompter A teleprompter is a device with a beamsplitter mirror that r

w w w . w o l f c r o w . c o m Page 598 The camera records the talent, but the talent does not see the lens. He or she sees the printed material r

w w w . w o l f c r o w . c o m Page 5 18 Handy Tools for Rigging 452 19 Shoulder Rigs 472 20 Palmcorder and Steadicam Rigs 485 21 Tripods and Trip

w w w . w o l f c r o w . c o m Page 59 your gear midstream. If you haven’t packed it, you’ll have to make do without it. If you have an unlimited

w w w . w o l f c r o w . c o m Page 599 Less than $2,000 EyeDirect Focusing Device Here’s a video from EyeDirect explaining their unique system

w w w . w o l f c r o w . c o m Page 600 More than $2,000 ProLine Studio-19 Teleprompter The ProLine version includes free prompting software

w w w . w o l f c r o w . c o m Page 601 her position relative to the camera remains constant, while the background moves. Here’s a video of how i

w w w . w o l f c r o w . c o m Page 602 Sekonic L-398A Light Meter Want a free light meter? Check out the Free Exposure Meter. Neck and Wrist S

w w w . w o l f c r o w . c o m Page 603 who enjoys having dead weight hanging from their necks, a good neck strap is a must. OP/TECH Pro Strap I

w w w . w o l f c r o w . c o m Page 604 OP/TECH SLR Wrist Strap Cleaning Kit Zeiss knows how to make lenses, and I’m sure they know best when

w w w . w o l f c r o w . c o m Page 605 Zeiss Ikon Complete Optics Cleaning Kit Anti-static bands We’re not usually in a sensitive environment

w w w . w o l f c r o w . c o m Page 606 Belkin Anti-Static Wrist Band To place gear on the ground: StarTech Desktop Anti-Static Mat A demagn

w w w . w o l f c r o w . c o m Page 607 We’re done! We started with a camera body. We added components to it in a methodical fashion, until we h

w w w . w o l f c r o w . c o m Page 608 Chapter 30 Addendum (A) This is just a place holder for future updates. To see the latest additions, plea

w w w . w o l f c r o w . c o m Page 60 1. List all the shots you are likely to take (or need). This is mandatory on most productions anyway. For e

w w w . w o l f c r o w . c o m Page 609 Thanks for Reading! I hope this monster guide has given you the confidence to put together your own rig.

w w w . w o l f c r o w . c o m Page 610 For the latest updates, friend us on: Facebook Google+ Twitter Pinterest This ebook includes a number of

w w w . w o l f c r o w . c o m Page 61 I use Microsoft Excel for all my spreadsheet work, but you can use a pen and paper too. The advantage of sp

w w w . w o l f c r o w . c o m Page 62 limit your lists within each schedule so you don’t lug everything around unnecessarily. 4. From the chart

w w w . w o l f c r o w . c o m Page 63 you are sure will cover your particular usage scenario. Now’s the time the list will tell you whether a zo

w w w . w o l f c r o w . c o m Page 64  Focus Mechanism  Aperture Control Mechanism  Weather Protection  Bokeh  Acutance  Contrast 

w w w . w o l f c r o w . c o m Page 65 I use this line of reasoning and analysis even on smaller projects. Why not? It’s fun, and faster with a sp

w w w . w o l f c r o w . c o m Page 66 m43 Mount – Panasonic GH2/GH3, Blackmagic Cinema Camera MTF Let’s start with the BMCC, since at the time o

w w w . w o l f c r o w . c o m Page 67 The beauty of m43 is it can take many kinds of lenses with adapters. There are excellent choices available.

w w w . w o l f c r o w . c o m Page 68 Voigtlander Ultron 35mm f/1.7 (80mm) Zeiss CP.2 Primes Telephoto SLR Magic Noktor 50mm f/0.95 (115mm) Leica

w w w . w o l f c r o w . c o m Page 6 Image Courtesy: Daniel Figur, Je McCoy, Josh Hamilton

w w w . w o l f c r o w . c o m Page 69 Telephoto Vivitar series 1 70-210mm f/3.5 with adapter (160-480mm) Canon EF 70-200mm f/2.8L IS II USM with

w w w . w o l f c r o w . c o m Page 70 Panasonic GH2/GH3 Primes Ultrawide Sunex 5.6mm f/5.6 Fisheye with Adapter (13mm) Rokinon 7.5mm f/3.5 UMC

w w w . w o l f c r o w . c o m Page 71 Leica M 90mm f/2.5 with adapter (180mm) Leica M 135mm f/3.4 with adapter (270mm) Super Telephoto Canon Supe

w w w . w o l f c r o w . c o m Page 72 m43 sensors are the most demanding when it comes to resolution, and lenses made specifically for m43 need t

w w w . w o l f c r o w . c o m Page 73 Medium Samyang 35mm f/1.4 Nikon 50mm f/1.4G SIC SW Zeiss CP.2 Primes Telephoto Nikon 85mm f/1.4D AF Zeiss C

w w w . w o l f c r o w . c o m Page 74 14–24 mm f/2.8G ED 24–70 mm f/2.8G ED 70–200 mm f/2.8G ED VR II 16–35 mm f/4G ED VR 24–120 mm f/4G ED VR 20

w w w . w o l f c r o w . c o m Page 75 EF and EF-S Mount – Canon 1DX/5D Mark III/6D/7D/650D/600D/550D One could argue that the Canon EF mount is

w w w . w o l f c r o w . c o m Page 76 Keep in mind, FF cameras cannot take EF-S lenses, only EF lenses; and APS-C sensors are more demanding in t

w w w . w o l f c r o w . c o m Page 77 II Tilt-Shift (39mm) Zeiss CP.2 Primes Set Zeiss ZE Series Set Telephoto Zeiss ZE Series Set Zeiss CP.2 Pri

w w w . w o l f c r o w . c o m Page 78 Canon 6D/5D Mark III/1DX Primes Ultrawide Rokinon 8mm Cine T/3.8 Fisheye Canon 10mm f/2.8 EX DC HSM Fishe

w w w . w o l f c r o w . c o m Page 7 Chapter 1 Introduction to Rigging Many of you might have read my Master Guide to Rigging a Blackmagic Desig

w w w . w o l f c r o w . c o m Page 79 Canon EF 100mm f/2.8L IS USM Macro Super Telephoto Canon Super Telephoto L Series Primes Zooms Wide Cano

w w w . w o l f c r o w . c o m Page 80 the wide end is about 19 mm in 35mm equivalent. The thing is, even regular B4 bayonet lens or C-mount lens

w w w . w o l f c r o w . c o m Page 81 T* ZE (58mm) Zeiss 35mm f/2 Distagon T* ZE (80mm) Zeiss CP.2 Primes Telephoto Zeiss ZE Planar T* 50mm f/1.4

w w w . w o l f c r o w . c o m Page 82 Canon EF 70-200mm f/2.8L IS II USM (161-460mm) You might want to know why I haven’t mentioned Nikon or Le

w w w . w o l f c r o w . c o m Page 83 Red Epic/Scarlet, Canon C100/C300/C500 Primes Ultrawide Rokinon 8mm Cine T/3.8 Fisheye (12mm) Canon 10mm

w w w . w o l f c r o w . c o m Page 84 Telephoto Zeiss ZE Series Set Zeiss CP.2 Primes Set Canon EF 85mm f/1.2L II USM (128mm) Canon EF 100mm f/2.

w w w . w o l f c r o w . c o m Page 85 have seen, there are good adapters for other mounts so you won’t notice it too much. Sony NEX FS100/FS700

w w w . w o l f c r o w . c o m Page 86 Zeiss CP.2 Primes Sony 50mm f/1.8 (75mm) Telephoto Sony 85mm f1.4 Carl Zeiss Planar T with Adapter (128mm)

w w w . w o l f c r o w . c o m Page 87 Medium Sony 24 -70mm f/2.8 Carl Zeiss Vario Sonnar with Adapter (36-105mm) Sony E-mount 18-200mm f/3.5-6.3

w w w . w o l f c r o w . c o m Page 88 Sony A99 Primes Ultrawide Sigma 10mm f/2.8 EX DC HSM Fisheye Wide Rokinon 14mm f/2.8 Sony Carl Zeiss Sonna

w w w . w o l f c r o w . c o m Page 8  Canon C100/C300  Red Scarlet/Epic  Arri Alexa  Sony F65 By providing sufficient examples I ho

w w w . w o l f c r o w . c o m Page 89 Medium Sony 24-70mm f/2.8 Carl Zeiss Vario Sonnar Telephoto Sony 70-200mm f/2.8 SSM PL Mount – Red Epic/S

w w w . w o l f c r o w . c o m Page 90 For me, the biggest advantage of PL lenses is their construction. They are made for heavy duty video use,

w w w . w o l f c r o w . c o m Page 91 Cooke S5/i Primes T1.4 from 18mm to 135mm (25-190mm) Other great options Arri Ultra Primes T/1.9 (except fo

w w w . w o l f c r o w . c o m Page 92 Medium Zeiss Master 16.5-110mm T/2.6 (23-150mm) Angenieux Optimo 19.5-94mm T/2.2 (28-132mm) Fujifilm 18-85m

w w w . w o l f c r o w . c o m Page 93 (using charts, projectors, etc) or qualitatively (prints, monitors, eye, etc.) There is no universally acce

w w w . w o l f c r o w . c o m Page 94 Wisdom will come. Just not on a fixed schedule. Don’t wait for it. Lens and Body Caps Every lens should

w w w . w o l f c r o w . c o m Page 95 The other important cap is the Body Cap: You might be surprised how many people forget this while pa

w w w . w o l f c r o w . c o m Page 96 Body caps protect the sensor while you’re transporting the camera without lenses; or while you’re changing

w w w . w o l f c r o w . c o m Page 97 Chapter 4 Filters and Matte Boxes Ideally, one would want the light to pass through a lens directly onto t

w w w . w o l f c r o w . c o m Page 98 Image Courtesy: Photograph by Linus Lövholm 2003 Flare Flare always happens. Sometimes it manifests its