In the Field with Redrock Micro

The Scout Active Rig: The Answer for Shooting Mirrorless Camera Video with Creative Focus Control

2016-01-13T14:03:00.000-08:00

The Best Way to Shoot Mirrorless Video with Creative Focus Control?

There is a 'creative focus gap' in production today. Everyone wants their footage to look as good as the latest Hollywood blockbuster, and budgets are never enough to shoot the way we want to. Now, thanks to inexpensive large sensor cameras and fast lenses, selective focus is one of those cinematic techniques everyone loves and wants: keep only the subject in focus while blurring the rest of the scene.

Creative Focus Control Everywhere is Not Easy

Which is awesome except for the part about keeping things in focus when the plane of focus is so narrow. And when the subject is moving. And when you want to shift the focus to a new subject. All that is hard. [Choosing what and when to focus on, and using that as a way to guide and inform viewers, we call that “creative focus control”]. On top of that, we want selective focus on all shots: handheld, sticks, shouldermount, gimbal, crane, Steadicam, you name it. And if that weren't enough, no downtime between setups. No one wants to see you fiddling with gear or re-rigging setups while the clock is running and everyone’s waiting.

How do We Solve the 'Creative Focus Gap' Challenge?

So basically the challenge was this: How do we outfit our tiny but powerful cameras with a rig that has enough stability to shoot handheld, has creative focus control, and is still small and portable enough (including all the necessary components) to work instantly on any setup?

Sean Sekino does a great job explaining the challenges of being an owner/operator and how he's been using the Scout to get the job done.

Sean Sekino talks about challenges and solutions
for modern owner/operator

That's why we built the Scout: a compact rig for your mirrorless or DSLR camera that has integrated focus controls (for you or a focus puller, switching between them instantly) great handheld ergonomics (think a matching grip to the camera’s own), includes everything you need right on the camera, and can be easily moved between rigs without having to rebuild.

If you rely on mirrorless cameras and using selective focus to enhance your story, check out the Scout. It might be the perfect solution for how you shoot today.

The new Scout Active Cage: The Owner/operators companion for
support and creative focus control of your mirrorless or DSLR camera

(You can see all the Scout product details here)

8 Great Features Now Available in Scout

When we previewed Scout at NAB 2015, we took the great response and feedback from our customers and show attendees, and now the Scout has eight new features that raise the bar as an unbeatable production companion:

Wireless-ready - just turn on the hand unit and your AC is ready to pull focus up to 1 mile away.
Integrated control panel on the rear of the cage with full control of setup and configuration (most of the electronics are located at the base, making balancing easier)
Power with standard Canon LP-E6 batteries: A great choice that’s standard, available everywhere, and chances are you already have some
Rhino Mount – a superior way to mount the focus motor in as little space as possible
Additional top shoe mount (2 total) for greater options in motor placement and accessory support (like on-camera mic)
A universal top arm that’s adjustable for all supported camera models
Additional adjustments for three-axis balancing of camera
External fingerwheel support – Switch to external fingerwheel for shouldermount or gimbal focus control.

Check Out Limited Time Introductory Pricing on Scout

Scout now comes in two options: The Scout HX is the full-featured version including all the focus control components (Torque motor and integrated basestation) and is for anyone starting from the ground up. The Scout HS is for microRemote owners who want to add the Scout rig with the built-in fingerwheel and onboard power while using their existing microRemote Torque motor basestation.

The Scout HX

http://store.redrockmicro.com/Catalog/Scout-Rigs/scout-HX-active-cage

The Scout HS (for microRemote customers)

http://store.redrockmicro.com/Catalog/Scout-Rigs/scout-HS-active-cage

For full details on the Scout http://store.redrockmicro.com/scout.html

DSLR Insider on Mad Max Fury Road

2015-06-19T09:39:00.000-07:00

Getting Furious with DSLRs and Mad Max

How they really used DSLRs and Redrock Rigs on Mad Mad: Fury Road

In summer of 2012 Redrock was contacted by a South African production company who wanted to outfit some 5D MK IIs for a feature film. They mentioned Mad Max.

(Original Mad Max Road Warrior starring Mel Gibson)

Mad Max, as in "Mel Gibson Mad Max"? We knew the original franchise well, some of our favorite movies! But it had been twenty vie years since Beyond Thunderdome, and even longer since the original Road Warrior. TWENTY FIVE years, that's a quarter century!

16 Years in the Making

Was this a fan film, a documentary, or possibly an homage? Turns out, they were serious about rebooting the franchise, and we were all treated to the awesome thrill ride that came to be Mad Max Fury Road. (It also turns out this movie was in planning stages as early as 1999. But that is another story)

The Furious (Re)Birth of Mad Max

Fast forward to 2015, as behind the scenes clips and videos started to leak online, we started to get some insights into how DSLRs were incorporated into high end feature film production, including the Redrock gear used to rig them (check out the Fury Rig details at the end of this post).

In context of the movie, the action itself was in many ways the real star of the film, and you might consider the plethora of deadly cars the ‘lead actors’. Shooting this kind of unrelenting action required constant and varied close up action scenes.

DSLRs Deliver the Action, Literally

Looking at the types of shots they needed to achieve, close up and pov action was a big part of the thrill ride. DSLRs are often dismissed as legitimate filmmaking tools, but in the right circumstances and in the right hands, they can really serve a story at any production level. (Other major feature films that have used DSLRs include The Avengers and Iron Man among others)

Insights on How DSLRs Were Outfitted, Rigged, and (ab)Used

Studying the behind-the-scenes pictures and videos of the DSLR operators, and applying a little production and rigging knowledge, here’s what we can surmise. Keep in mind production started some years ago, approximately 2012, so things have certainly changed since then, and the crew would almost certainly have made different choices if shot today.

There were at least four DSLR rigs. Three Canon 5D MKIIs used by the stunt/action team, and a Nikon D800 used by George Miller. While there is some debate (4) as to how the Nikon DSLR was used during production, based on the above still from the bts video it appears Mr. Miller is using it as a director’s viewfinder. You can also see him using the Nikon DSLR with wireless video to an iPad (likely a Teradek Cube ) – probably to give direction to the operator on how he wants that shot framed. Great use of DSLR and wireless iPad video.
In addition to the DSLRs the Olympus OM-D and Blackmagic cinema camera were also mentioned in passing on the IMDB page (5). For purposes of this article, we will only focus on the DSLRs that were for on-screen production shooting, namely the Canon 5D MKII.
For the rigging, we definitely see action cam style - the DSLR camera ops were well prepared to strap in to cars, on towers, pretty much anywhere they wanted a great action insert or angle of view that would otherwise be impractical or too time consuming to setup with an A or B camera (ARRI Alexa with those huge Panavision primo zooms). Rigs from Redrock Micro were exclusively used with the canon 5D MKII to fit this style, each slightly customized to each operator’s liking.
On these rigs, there are no evidence of external recorders, the camera rigs were small and compact, and clearly not tethered, so likely recording to internal CF cards. Back then (waaaay back, like 2012) external recorders weren’t as prevalent, so it would have been interesting to see if they would use them if the movie were shot today. Our guess is due to the intensely physical aspects of the shot, plus a better 5D MKIII available, they probably would have stuck with internal recording.
For operator monitoring, use of camera-top displays (looks like two different types of monitors, Marshall and smallHD. Elsewhere it appears SmallHD was big on the set). Monitors were powered with Canon LP-E6 or Sony camcorder style, depending on the monitor. In some cases there were HDMI video goggles used. Look like an off-brand, similar to Zeiss Cinemizers.
The Canon EF 16-35 f/2.8L II USM seems to be a favored lens (you can see the tell-tale flower petal lens shade)
Also appears to be prevalent use of screw-in style polarizer, ND, or (most likely) vari-ND filters. Shooting in mid-day sun in the desert would have made ND filtration a necessity.
An interesting addition on one of the camera lenses is what appears to be a gobo-style lens filter that would have footage looking like it was shot POV style through a cage or grate. Very cool and interesting idea, great way to get visual impact with a low cost practical (note the use of video goggles again on this shot).
Rigs were personalized by each operator, but you see certain things in common. Minimal setup, Two handgrips positioned front and back, maximize stability. Some use the body brace against the chest or rotating 90 degrees and placed on top of forearm as an alternate support.

The rigs were designed to be super lightweight, focus heavily on grip placement and customizability, and included the microBrace bodypad for added stability. The microBrace was also used as a forearm stabilizer when rotated 90 degrees and placed on top of arm.

Why the Canon EOS 5D Mark II? “A number of Canon 5Ds were used as crash cams during the action sequences – as “semi-disposable stunt cameras”. The DSLR was chosen as a proven work-horse crash-cam even though it was released way back in 2008. The 5Ds provide extra cut-away point of view angles during action sequences – the cutaways are so short you don’t notice the changes in image quality.” (3.)

We’re hoping to get additional details from the production crew, so stay tuned!

Other articles and sources mentioned or quoted:

UPDATE: since the release of the movie and huge number of questions we’ve received, Redrock has announced availability of the Fury Rig, the rig inspired by Mad Max Fury Road and the rigs used, and now updated for use with DSLRs, Canon EOS Cinema cameras, and Blackmagic Cinema Cameras.

You can find more details and configure your rig here:

UPDATE 2: there is a great and not well known "making of mad max: fury road" presentation at the ACS with John Seale and David Burr. Highlights on the DSLR side of things (details on the DSLRs starting around 26:30).

They originally started with Olympus bodies (due to the in-body stabilizer), but they had a tendency to shut down on impact,overheat, and when they broke they lost the footage as well
they switched to Canon 5D MKIIs as a result, 10 total.
in addition to the operators, they tucked the DSLRs in to various places like exhaust grills and others
confirmed 16-35mm EF lens was the lens of choice!

Watch the whole thing, it's a great presentation of the whole film and brilliant commentary on the production and camerawork.

Don't Let Power Problems Sabotage Your microRemote

2014-06-13T11:51:00.002-07:00

When used properly the microRemote and LiPo batteries operate beautifully together, and together deliver the lightest, most compact solution available for focus control on gimbal rigs. However, if incorrect cabling or wiring is used, it may damage the microRemote and render it inoperable. Keep in mind any damage to the microRemote caused by improperly used cables, improperly wired third party cables, or inappropriate power sources is not covered under the microRemote warranty.

Redrock wants our customers to have a great experience with our products and when used with third party gear. Here are some tips on how to avoid these potential issues (click here for a printable PDF version).

Figure 1. Correct voltage

1. Use Correct Voltage

The microRemote can accept power from 12-18VDC. To avoid damage to your system, the Basestation is to be operated from 12-18VDC ONLY. If you are using LiPo batteries typically only a four cell LiPo battery falls within this range.

Figure 2. Cable standards

2. Use The Correct Cable Standard

Use only US-standard 2-pin power cables. There are unfortunately two standards for 2-pin Lemo-style power connectors: The US standard which dictates Pin 1 (one) as power, and pin 2 (two) as ground. This is the standard the microRemote uses. There is a second “Arri standard” which has the pin assignments reversed, so pin 2 has power. Do not use any cable designated Arri standard with the microRemote. 2-pin power cables that are known to use Arri standard include cables for powering Teradek and certain Paralinx products. If your cable does not have a key for reference, or if you have any question on the cable wiring, please consult your cable provider.

Figure 3. Check cable wiring

3. Make Sure Cable and Power are Wired Correctly

We've received reports of some cables being wired backwards, or some batteries that are wired backwards. Unless the cables and pins are clearly labeled and correctly built, the only way to accurately determine pin assignment is by testing the cable and battery using a multi-meter. For additional information on LiPo battery handling, visit http://bit.ly/liposafety

Figure 4. Check it before you wreck it

4. When In Doubt, Do NOT Use a Questionable Power Source

Instead, test the cable and/or battery using a multi-meter to confirm correct pin assignment and voltage levels. DO NOT plug in the microRemote Basestation until you are confident of the correct power and polarity.

From First Gear to Festival Premiere: Looking Back on Production, Taking ODD BRODSKY the Film Festival Route & Why Cindy Baer Keeps Going Back for More

2013-10-03T10:31:00.000-07:00

The feature film ODD BRODSKY began as a passion project for director Cindy Baer and cinematographer Matthew Irving. Now, after a seven-year journey including developing, shooting, editing, visual effects, sound and music, the film is ready to make its world premiere at the 36th Mill Valley Film Festival on October 4th and October 5^th—and this has Baer ecstatic.

“My husband Matt and I came up with the idea for ODD BRODSKY in 2006 when my first feature was playing at a film festival in Massachusetts. I shopped the script around but found it impossible to raise a real budget in this horrible economy. I was about to give up after a few years trying. That's when industry friends starting coming together to make it happen!” said Baer. “We prepped for about 2 months, and then shot at the end of 2011. We’ve been working hard to complete it and are so excited to see it on the big screen.”

Audrey (Tegan Ashton Cohan) and Camera One (Matthew Kevin Anderson)

Why Continue the Festival Route?

ODD BRODSKY is Baer’s latest film and her second full-length feature to be accepted into a film festival (her debut feature Purgatory House screened at 25 festivals and her short film Morbid Curiosity screened at 28 festivals) so taking the film festival route was always on her mind. But why continue the festival route? According to Baer, for exposure and validation. “More and more films than ever before are being made and more films than ever are going the festival route. This makes the competition greater than it’s ever been as the larger star-studded films compete against tiny movies for highly coveted screening slots” explained Baer.

“Getting into a good festival can help to garner press and reviews, and for the smaller films that don't have big stars, it can help validate the movie to an audience and to distributors. Smaller festivals are great too. The opportunity to bring your movie to a community and present it on the big screen before a live audience and do a Q&A is wonderful. And if the audience likes your movie, they'll tell others about it. In this day and age it's all about getting people to know your project," said Baer. "Nobody is going to watch it if they don’t know about it.”

Baer and husband Matt Irving Hard at Work

Delivering Quality Shots with a Tiny Budget

Being a micro budget project, Baer found herself wearing different hats in every department, and despite having limited resources she and her producing partner Thomai Hatsios were able to pull off traditional production values not found at the low-budget level. “Everything is lit, and the camera work is smooth and lyrical as opposed to handheld and frenetic. We're extremely proud of what we were able to accomplish in the 20 day shoot-- our feature spans multiple time periods (1971, 1980 and present day), has over 30 locations, rain, smoke, kids, animals and even a musical number! Over 50 actors had speaking roles, and the majority were women, which is not common. There's also dozens of complex “real world” visual effects which help to fully create the world of the movie. And no story about Hollywood would be complete without a glimpse of the Hollywood sign, which we were grateful to have licensed.”

Tegan Ashton Cohan as Audrey and Jim Hanks as the actor who plays God (in pink)

Choosing the Right Gear

Budget also dictated Baer and Irving's choice in format and support gear; however, they found that choosing vendors that fit the budget was a no-brainer, and ultimately decided to go with Canon DSLRs and Redrock Micro rigs to shoot the film.

“Canon DSLRs deliver by far the best image for the price, and the Redrock Micro rigs are the best I've found in terms of build-quality and flexibility. Even when we did go handheld, the Redrock Micro rigs allowed us to make it as smooth as possible, to deliver the more "classical" studio film look” recalled Irving.

“We used the DSLR Field Cinema Bundle and added the microFollowFocus and microMatteBox Deluxe. Once fully built, the shoulder rig/follow focus/matte box combination--together with the Canon 5D Mark II--became our "studio camera" for the show. We would keep it built in this configuration whether we were on sticks, dolly, or handheld. The thread on the bottom of the shoulder rig was a genius addition from Redrock Micro, which allowed for this flexibility," described Irving. "We were able to go from sticks to handheld in no time at all; we merely had to release the plate from our Sachtler tripod and we were good to go.”

On Set with Redrock Gear

Baer and Irving enjoyed the modularity of each piece of Redrock gear they used on the shoot, adapting the gear to their own specific needs and making it work quickly and easily. “The Canon 5D Mark II is an amazing camera, but it can experience some warping and rolling (commonly called the "jelly roll" effect) if certain vibrations are present during the shooting. The Redrock shoulder rig eliminated this problem by adding just the right amount of bulk and weight, while providing a more sturdy contact point with the body. In my experience, a handheld shot literally goes from "unusable" to nearly Steadicam-smooth when you use the Redrock Micro rig.”

Preparing for the Next Scene

Irving credits the gear in helping to achieve a smooth and lyrical feel in the shots and had such a great experience would use them again in future projects. “I would use the rigs again in a heartbeat. In fact, I consider the shoulder rigs (together with follow focus and matte box) to absolutely integral tools whenever I'm shooting with Canon DSLRs.”

Director Cindy Baer

Film Festival Tips

The film festival circuit can seem daunting and impossible, but Baer recommends it for small indie films hoping for the opportunity to find new audiences. “Besides being fun, you get to visit places you may not otherwise go, discover great movies that you may never have a chance to see again, meet amazing people, and make friendships that last a lifetime. My tips about festivals would be to create a strategy and do your homework. Most festivals will not play you if you've screened at another festival in their city, because it will be harder to get people to attend. It’s important to submit your movie to a festival that it would actually be a good match for.”

For more on ODD BRODSKY, Cindy Baer and Matthew Irving, check out:

ODD BRODSKY Facebook: www.facebook.com/oddbrodsky

ODD BRODSKY Twitter: www.twitter.com/oddbrodsky

ODD BRODSKY website: www.oddbrodsky.com

Cindy Baer website: www.cindybaer.com

Matthew Irving website: www.matthewirving.com

Contemplating the film festival route? Check out these tips for filmmakers from Sarasota Film Festival director Tom Hall.

For more on the Redrock Field Cinema Bundle, microFollowFocus and microMattebox Deluxe, visit redrockmicro.com.

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Do you have tips for submitting films into film festivals? Share them below!

Filters and Matte Boxes in the Field

2013-09-12T09:24:00.000-07:00

Why Optical Filters and Matte Boxes Still Matter in the Digital Age: Pt. 2

The second installment in our series, DP Josh Pickering stops by the Redrock studios to discuss and demonstrate specific examples of filters and how he uses them with his matte box in day-to-day productions.

Filters and Matte Boxes in the Field from Redrock Micro on Vimeo.

Check out the Redrock microMatteBox after the jump.

In case you missed it, check out part 1 of our series on types of filters and why matte boxes are still used in productions.

What is your favorite filter or special effect filter you use? How important is it for you to "get it right" in camera?

Tom Gleeson, ACS & fxPHD's Mike Seymour on the microRemote: "An Amazing Value"

2013-09-03T14:04:00.002-07:00

The award-winning microRemote made its way 'down under' and into the hands of fxPHD's Mike Seymour & Australian Cinematographer Society's Technical Committee member Tom Gleeson, who spent time with the microRemote and gave it a thorough review on the gear segment 'Top Tech.'

Seymour and Gleeson cover details about the microRemote like lens mapping, which they call 'a big plus for much nicer, better control,' responsiveness of the system ('Redrock is right up there' with other professional systems) and they ultimately call the microRemote system a "great value for the money for any operator of a large format camera with focus issues."

Check out the interview here:

RedRock MicroRemote Test from ACS on Vimeo.

For more on the Australian Cinematographers Society visit their website.

Watch additional 'Top Tech' segments on the ACS Vimeo page.

Check out the Redrock microRemote Remote Focus System after the jump.

Do you use a wireless follow focus or a traditional follow focus? Let us know below!

Is the Blackmagic Pocket Camera Up to the Task?

2013-08-27T11:39:00.000-07:00

5 Questions for Captain Hook, The Man Behind the Latest Sample BMPC Footage

As the Blackmagic Pocket Camera begins shipping, filmmakers anxiously await real-world feedback and reactions. Although the early BMPC footage gave viewers an idea on how the camera footage looks, does it meet the expectations?

We spoke with Captain Hook, who shot and posted recent footage of the Pocket Camera (see end of article for video), and asked him five questions about his hands-on experience with the camera:

Redrock Micro: Does the BMPC live up to the hype?

YES! My perspective is somewhat distorted by being familiar with the BMCC 2.5K EF mount (which I've had since January this year) and having done a lot of reading and research about the Blackmagic Cameras in general, so I had a very good idea of what to expect in terms of firmware, features, and image. This time around, I got to not only grade the very first footage posted by John Brawley (who's incredibly talented and generous with his time/knowledge) from the Pocket Camera but to also get my own unit to beta test following that. I was really floored by the image and color, and that might seem strange having used the 2.5K version, but I'm still enamoured with that camera also. Both of these cameras cost less than our 2 Canon 5D3's we use for stills, it's just incredible. There will be a shock for some who don't know much about the BMD line of cameras currently, both good and bad. Missing firmware features like audio meters, in-camera formatting, remaining disc/record time, custom LUTs, etc, get requested often - but if you do your research prior and understand what you need to get going with these cameras then that stuff can be dealt with.

RRM: Now that you've had a chance to use it, have your thoughts changed for how you intend on using it? If so how?

Initially, I thought it would make a good B-cam to my 2.5K EF, but I didn't anticipate how often I would find myself taking it out with me just to 'capture footage' of what we may be doing. Being so portable, it really lends itself to that and really doesn't draw attention to itself. Or, you can choose to rig it up for a more 'production' type environment with all the bells and whistles if that's what you're doing. I guess I didn't realize how often I would actually take it out with me and use it, especially in situations where the BMCC is too big and cumbersome or just plain overkill.

RRM: How do you find yourself dealing with the nearly 3x crop factor?

I've gotten used to "translating in my head" what our lenses do from the EF mount, so I know what our lens set does equivalent to the same lenses on a 35mm full frame like the 5D3's or S35 sized sensor. The Pocket is multiplied by a higher amount, but it's just another conversion in your head to get used to. It helps to have wide, fast glass. We have a 14/2.8L, but I wish it was faster. The SLRMagic 12/1.6 interests me but I would get the MFT 2.5K first so I could use it on that too. The reality is though that 35mm full frame is generally my widest lens except for "special" shots. I personally don't really have much of a desire for anything wider than 12-14mm for these cameras. I do wish the Canon 85/1.2L worked on either the BMCC EF mount or the Redrock LiveLens adapter though.

RRM: What are your three favorite and least favorite things about the Pocket Camera?

Favorite:

• The image (including the colour science and decent codec - 422HQ)

• Form factor (feels great in the hands when stripped down)

• Stealth and portability factor.

• Price! (oops, that's 4)

Least:

• Battery Life (I think external power is the best solution for me)

• Some missing firmware features I would like (in-camera format, customs LUTs, audio meters, disc remaining)

• Micro HDMI (HDMI is fragile enough, but clean HDMI to my Hyperdeck Shuttle makes up for it and allows me to record a lot of footage at 10bit 422HQ but at the cost of bigger 'footprint')

I think it's important for people to spend the time to research and read about these cameras on the various forums like Blackmagic Designs's own forum, and BMCuser.com. There's very knowledgable and helpful people on those sites that can give you insight not just into these cameras, but filmmaking in general. People like (again) John Brawley, Kholi Hicks, and Frank Glencairn. Armed with the right knowledge and expectations, I think this camera will make people very happy.

RRM: You use the Redrock liveLens MFT to adapt Canon L series glass. How do those lenses perform on the BMPC?

I've been really happy with the image quality from the Canon L glass, and I love that I can use them on my Blackmagic cameras, saving us from purchasing all new glass. I definitely have my eye on dedicated cinema glass for the future, but it also makes a lot of sense to hire lenses like that for jobs that need it. Because of that, I plan to eventually get the MFT 2.5K version so I can again still use the Canon L glass with the Redrock LiveLens adapter, but also get other adapters for PL mount and Nikon, etc. Pulling focus is obviously the big issue, but I've gotten a pretty good feel for pulling my own focus now with the lenses we have. A follow focus with hard stops is helpful, but I'm also eyeing up the Redrock microRemote with the Handheld Controller for AC's and fingerwheel as I like that you can remap the focus range etc.

Check out Captain Hook's BMPC test footage below:

Auckland In My Pocket - Blackmagic Pocket Cinema Camera--A Couple Of Night Owls

For more on the Blackmagic Pocket Camera, visit the Blackmagic Design website.

Check out the Redrock LiveLens MFT, which allows Canon EF lenses to be used with the Pocket Camera and be able to adjust the lens’ aperture, after the jump.

Want to see more articles like this? Subscribe to this blog and get each new post delivered to your email or feed reader.

Special thanks to Captain Hook for his contribution to this article, you can learn more about his work at http://acoupleofnightowls.com.

Are you buying a Blackmagic Pocket Camera? Do you intend to use it for production purposes or as a point and shoot camera? Let us know below!

Today’s Video Cameras Can Do it All, But Do You Want Them To?

2013-08-15T14:08:00.000-07:00

Why Optical Filters and Matte Boxes Still Matter in the Digital Age: Pt. 1

This week’s guest post comes from Tiffen's MPTV Filter Group Consultant Carey Duffy. Carey has long been a recognized expert in filtration and has done extensive work with the London Filter Company and Tiffen to spread 'filter awareness.' Carey shares his experience with us on why optical filters and matte boxes are still a vital piece of the cinematographer’s toolkit in today’s digital age.

For more on Carey and everything filters, follow him at @Carey_Duffy on Twitter. Visit www.tiffen.com for more information on the filters seen here in this post.

Filters and matte boxes are key for controlling light entering the lens. Pictured

top, scene shot with no filter. Pictured below, scene shot with SMOQUE filter.

Modern digital cinema cameras and DSLRs are truly incredible advances: they house large digital sensors that deliver amazing latitude and enable you to peer into shadows and seemingly see in the dark. Some have lossless codecs and even shoot totally uncompressed. 8 bit, 10 bit, even 12 bit color resolution eliminates banding and keeps colors accurate.

There are log formats for maximizing latitude, high ISO for even more light sensitivity-- the features and power are endless. The post-production coloring and editing tools seem to compensate for just about everything you couldn’t do in-camera. Even with this kind of technology arsenal, optical filters and matte boxes are still standard-issue equipment used by virtually all the top productions today. Why? Because camera filtration and matte boxes can achieve things not possible in post and are an essential tool in getting the best results possible.

Filters are one of the many tools a cinematographer employs to control the light entering the camera lens, either as a physical necessity, for aesthetic effect, or even to achieve both these ends. The question of how to control the intensity of light, especially for exterior shots, means that the use of filters as a primary tool becomes paramount.

Although the transition from film to digital has made the cinematography process less complex with the introduction of built-in features such as ISO adjustment, filtration not only gives better results, but offers many things that just aren’t possible in post production or with fancy sensor electronics. Let’s take a look at how filters can give you the best results.

ND Filters

Many people ask me what is the main reason cinematographers, directors of photography (DoPs), or videographers use multiple filters. Often, the simple answer is for correcting the exposure while keeping shutter speed and aperture constant. Neutral Density (ND) filters cut down the amount of light without adjusting camera settings. This is vitally important if you are shooting with a lot of light and want to keep your aperture open for a nice shallow depth of field (such as keeping your interview subject in focus while throwing the background out of focus). Adjusting the camera’s shutter speed or lens aperture would result in a different look and feel. Built-in camera ND is often not exact enough to maintain your camera settings.

ND Depth of Field Example

Graduated and Attenuated ND Filters

A variant of ND filters are graduated and attenuated filters, which cut down the amount of light in a specific area. This is typically used to cut down the bright sky so the exposure is more even between the action on the ground and the overhead light. Graduated ND goes from some ND to clear, whereas attenuated filters have a graduated ND across the entire filter, never going to clear. There are also choices for hard and soft edge graduated ND as your scene dictates (hard edges are often used with architecture to even out exposures or for dramatic effect). What’s most important about using these filters is the ability to rotate and slide to position the graduation so it matches the horizon. A matte box enables you to get that exact filter placement (more on matte boxes later).

Tiffen ND Grad edges example footage. from The London Filter Company

Infrared (IR) Cut Filters and Hot Mirrors

The dramatically increased sensitivity of modern digital cinema cameras have come at the expense of increased infrared (IR) light pollution. This typically shows up as a red or purple cast in the blacks and shadows. When adding ND filtration, the IR pollution effect is often increased, leading to footage that is colored strangely, and difficult to correct in post. An IR Cut filter (as referred to as a “hot mirror” filter) helps eliminate the infrared light pollution. This can be an extra filter added into the filter stages, or ND filters can be purchased with the IR cut built in to them (since ND tends to make the IR pollution worse).

Top: no filter. Bottom: with IR filter. Note cleaner blacks

Polarizers

Polarizers are one of the most frequently used camera filters in cinematography. This is because they are both technically fixing and aesthetically enhancing. From a technical improvement, polarizers are used to remove unwanted reflections, such as through glass, shooting over water, etc.

Polarizers have to be rotated to find the angle at which they cut the glare or reflection, so they need to be set up and work at a specific place. This is why polarizers are recommended primarily for locked-off video shots rather than shots where the camera is actually moving, since moving the camera would also change the polarizer’s angle and spoil the effect.

Also just to clear up a common misconception: a “circular” polarizer does not refer to the filter being round. There are plenty of square or rectangular circular polarizers. Circular polarizers are almost exclusively used nowadays instead of linear polarizers. There is a lot of complicated stuff behind this, but essentially circular polarizers work correctly with today’s modern autofocus and metering systems.

Left: no filter. Right: with polarising filter

Contrast Control Filters

All of the filters mentioned so far generally deal with controlling light at constant camera settings, or to help control exposure. Contrast control filters have a very important part to play in the ability to control uneven exposure “looks” within a frame.

Left: no filter. Right: with polarising filter

For example, a stronger density is generally used on a long focal length establishing shot, since the light hitting the image sensor is only passing through a small part of the filter’s area. Conversely, a lighter density of filter is used for a wider close-up shot as more of the filter’s area is being used. For this reason contrast control filters come in a number of different varieties and densities.

They are not designed by stop densities but by increment, to take into account the different focal lengths of lenses used and to create continuity across a scene. Switching between densities depends on focal length and the image in frame. It’s just one part of the effort a cinematographer needs to put in to ensure the continuity of the look across all of the film that is being produced for a particular project.

Low contrast filters create a small amount of ‘localized’ flare near highlight areas within the image, and this reduces contrast by lightening nearby areas of shadow, leaving highlights almost unchanged. Soft contrast filters include a light-absorbing element that, without exposure compensation, will reduce contrast by also darkening highlights, and cinematographers use these when lighter shadows are not desired. In both cases, the mild flare produced from bright highlights is sometimes used as a lighting effect.

Tiffen Low Contrast Filter test examples images from The London Filter Company

Tiffen Soft Contrast example film from The London Filter Company

Color Conversion Filters

With electronically controlled white balance, color conversion filters are less used nowadays, but there are great choices for converting daylight to tungsten, or vice versa, without any adjustments in post-production. Sometimes color conversion filters can be used to create a special effect look.

Top: no filter. Bottom: with 85b CC filter

Matte Box: the Essential Accessory for Filters

microMatteBox

On professional sets and productions, you almost always see a matte box used in conjunction with filters. Like filters, a matte box performs some vital functions that simply can’t be replicated in post, and help you get the best images possible.

In addition to holding filters, a matte box protects the lens and the filters from unwanted light sources that create flares and lens reflections that can ruin a shot. When you put filters in front of your lens, you increase the number of optical surfaces where light can bounce around and create havoc.

The matte box provides both a shade (the ‘deep box’ in front of the filter) and flags/side wings to extend that shade so light is blocked from directly hitting the filters and lens.

For motion pictures the standard size of filters is 4x5.65”, also known as Panavision size.

Filter Trays

This wide size is ideal for the wider HD aspect ratio, especially when using wide angle lenses.

Matte boxes are much more versatile than screw-in filters because they enable you to:

Make fast lens changes without having to remove/re-attach filters.
Reduce the amount of filter handling. Less of a chance of dropping or scratching.
Invest in one set of filters, regardless of size or style (still versus cinema).
Protect your filters and lenses from unwanted dust, dings/knocks, and falls.

Filter Tray

There’s quite a number of matte boxes available today in varying price points. The best matte boxes are those that have the following features:

Support the full 4x5.65” standard filter size for motion picture production
Have a swing-away design for fast lens changes
Solid construction including metal fasteners, knobs, and swing-away construction
Multiple 360 degree stages
Add/remove stages to tailor the size and weight of the matte box to your needs
Filter stage locks, so filters don’t accidentally fall out.

Having a tool designed to offer a wide range of flexibility in sculpting how individual glass filtration effects can be applied consequently becomes of primary importance. A matte box will enable a filmmaker or cinematographer to build up an extremely personal and useful inventory of filters that they will constantly use and add to, allowing the filmmaker or cinematographer a playground of in-camera creativity at the heart of image capture.

microMatteBox Deluxe with Eyebrow and Flags

Putting It All Together

This feature is merely intended to be an introduction to the world of filters, so you can consider what filter tools you should be employing to burn-in your look on your moving images. Each production, scene and location requires individual consideration if you are going to achieve your desired look.

Knowing what tools will enable you to achieve the look you are after is part of the job of being a cinematographer. If you have filters and a matte box readily on-hand they can also provide a crucial last-minute fix to unexpected problems that digital post-production software can’t touch.

Check out the Redrock microMatteBox after the jump.

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What is your favorite filter or special effect filter you use? How important is it for you to "get it right" in the camera?

C47 Setup Tips for One Man Crew™

2013-07-05T12:50:00.000-07:00

Jem Schofield is no stranger to corporate and interview work. His professional credentials as a videographer and DP for his own company Buttons Productions are long, and includes work for Canon, Zeiss, Apple, and many other companies. Jem also logged a great set of tutorials for Linda.com on how to shoot interviews using sliders and other camera movement gear.

In short, Jem knows what it takes to make great interviews with one or two crew people, and what it takes to make them visually stand out.

In a recent post on his blog theC47.com Jem covers the basics of setup and use of the One Man Crew, and discusses some framing and camera strategies for a two-camera setup with only one operator.

Check out Jem’s in-depth tips on the One Man Crew and let us know what you think.

Jem Schofield - theC47

Coming Soon - Video Insights from Alex Buono's The Art of Visual Storytelling Tour

2013-06-11T13:09:00.000-07:00

Subscribe to our blog and get exclusive access and footage from the Art of Visual Storytelling Tour hosted by Alex Buono...

As the instructor on The Art of Visual Storytelling Tour, DP of Saturday Night Live Alex Buono is traveling to 31 cities across the US and Canada to deliver an all-day class featuring an overview of the key components of cinematography.

Designed for both DSLR and cine-style camera users, this workshop teaches advanced techniques that will dramatically increase the impact of your films.

Alex Buono on SNL Set

Alex has been a longtime Redrock user and selected Redrock as the official rigs for the Art of Visual Storytelling Tour.

A new video tutorial, insight, or lesson will be posted here about once a week. It's a great time to subscribe to our blog and get pro tips from one of the best in the industry so stay tuned!

Want more? You can catch Alex on tour through Summer 2013 and see his entire presentation. Visit http://visualstorytellingtour.com for a list of tour stop locations.

If you have been to one of the stops, drop us a comment below and let everyone know about your experience, favorite topic or a rig you liked using.

microRemote On Set in The Big Leagues

2013-03-08T11:39:00.000-08:00

The microRemote has been getting great reviews, but naturally people may wonder how a remote focus system priced at a fraction of similar systems performs in high end productions.

David Dowell, a top-notch 1st AC in Hollywood who has worked on many television shows throughout his career, had the opportunity to use the microRemote in his work as first AC for the ABC Family show “Pretty Little Liars”, a primetime hit show that shoots with three Red Scarlet camera packages. David and the crew has been using Preston wireless focus units for most of the show, and anything less than perfection is unthinkable for a show of this caliber.

David sent us this writeup:

My name is David Dowell, and I am currently the Key 1st Assistant Cameraman on ABC Family’s hit series “Pretty Little Liars.” I have been a 1st AC for over 20 years working on episodic television, feature films, commercials and music videos. Additional episodic television projects include Key 1^st Assistant on ABC Family’s hit series “Greek” and ABC’s hit series “Ugly Betty.” I was also a 1^st AC on WB’s hit series “Angel.” (IMDB Page)

"The microRemote compared
favorably to the Preston, [and]
performs better than the Bartec"

The camera package we use on “Pretty Little Liars” is the Red Scarlet camera. We use Zeiss Ultra Prime lenses on all our three cameras. Additional equipment we use includes Steadicam, Technocrane, swing and tilt lenses, Hot Gears and the Preston Fizz for our remote focus shots.

“Pretty Little Liars” is the most popular TV series on ABC Family network, with every episode shot with feature film production values. The entire camera crew on “Pretty Little Liars” are all seasoned professionals with high level credits from big budget feature films and top rated episodic television.

We have recently used the Redrock microRemote and quickly became impressed with how well it works.

We found the microRemote responsive, accurate, easy to use and quick to set up. It compared favorably to the Preston and found out we could also use the microRemote with the Preston motors. We liked the microRemote better than the Bartech: it performs better, sets up faster, and is smaller and more compact. I also found it easier to use.

Overall I found the microRemote a great solution to many situations and I can recommend it for both professionals and amateurs.

Watch David's video below:

For more on David Dowell's work, check out his IMDB page. For more on the microRemote, check out the microRemote landing page at http://store.redrockmicro.com/microremote.

Why Go Remote on Your Focus?

2012-12-05T16:09:00.000-08:00

There are a lot of skills on any production, but none is so central than pulling focus: accurate focus is a requirement on literally every shot. DSLRs and other large-chip cameras and inexpensive fast lenses have made shallow focus affordable, and focus all the more important. Accurate focus can make or break your production. Shane Hurlbut, ASC has often said, focus is the anchor for your entire project. With the new microRemote from Redrock Micro, remote focus control is now affordable for everyone, costing a fraction of traditional wireless focus systems: price is no longer a barrier. Having access to remote focus is really exciting for a lot of filmmakers. But what advantages are there to using a remote system? Turns out, there are plenty:

Advantages of Using Remote Focus

Better Focus

A remote focus unit can actually deliver better, more consistent focus results. First, because it's wireless, you are not touching the camera, eliminating any shake that could result. Second, the motors give you just the right amount of assist so changing focus is effortless. It's like power steering in your car; smooth easy movements. There is a reason power steering is now standard on virtually every car sold. Finally, if you are using still lenses on your DSLR or other camera, the remote focus expands the focus ring from a tiny amount (often 45-60 degrees) to a whopping 270 degrees. It does it for all your still lenses. This means when you change focus, you have a lot more room and precision to hit your focus marks.

Use It On Any Shot

Filmmaking today often calls for a lot of specialized setups and gear to make the cinematography interesting, and to better tell the story. This means jibs, cranes, Steadicam and handheld, in addition to tripod work. A remote focus system is the only focus controller that works on all these setups. Whether you are pulling focus on sticks, or on a 20' high crane shot, you can pull focus accurately and consistently. A popular choice is to outfit a camera with a cage (such as the Redrock ultraCage series), which gives the camera top rails and multiple mounting points. This enables a remote focus system to permanently live on top of the camera, and can be moved from setup to setup without changes. This is a huge timesaver when moving between setups.

Owning One Makes You Better

And by better, we don't just mean a better person. The advantages of owning gear isn't just minimizing rental fees and having more flexibility to shoot at a moment's notice. You know your gear intimately, and have the opportunity to use it all the time. Like any gear, familiarity and practice means you get better. Better at setup, configuration, and calibration. Better at hitting your focus marks. As you improve, you will be able to shoot with increasingly shallow focus for more impact.

Hollywood's Future Vision: HDSLR + Redrock Micro

2011-10-07T09:32:00.000-07:00

This inaugural blog post is just in time for the release of the new feature film "Real Steel" starring Hugh Jackman. Real Steel opens today (October 7th) to nationwide theaters: the movie looks pretty good and is getting great reviews.

This movie is significant for HDSLRs, but not in the usual way. Yes, it's a blockbuster Hollywood film, heavily promoted, yes it has big named actors, and yes Dreamworks is behind it. But no, it's not about using DSLRs to shoot some portions of the film as a crashcam, bodycam, or insert shots. DSLRs are actually *in* the movie, as in, part of the scene design. Dreamworks thinks a future that includes fighitng robots will be covered by people shooting with DSLRs.... and Redrock rigs.

Redrock's history with this movie goes back two years. An assistant to the propmaster emailed saying they were working on an upcoming movie with Hugh Jackman and could they borrow a bunch of Redrock DSLR rigs. This sounded a little outlandish, but when the propmaster called and discussed their vision of a DSLR-centric futuristic world, about a dozen rigs were headed to the desert for their filming. When asked 'why Redrock?' the production said they really liked the look of Redrock rigs more than anything else available, and Redrock gear can be configured in any number of ways.

If you haven't already seen the movie, here's an early cut of the trailer (no longer generally available) where you can see some of the HDSLR rigs

here's a screen grab showing the always-identifiable Redrock blue accent colors:

You can check out the production credits on the Real Steel IMDB listing - as of right now the rating is 6.9 and trending upwards. Not bad for 'rock em sock em robots'.