SGpro Rev.3 What to expect? (usability)

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Panamaniac
I am close to shooting a film with an SGpro Revision 3... I have never used it and don't know what to expect... I will have the owner and s few people in the camera department and I am only Directing it, so I don't really need to know... but I would love to know what to expect...

BTW, we should have as much light as we will need... so no worries there... unless something requires me to stop down a bunch...


So... what are the limitions and how to use it?
 
Having used my SGpro for a while, the biggest thing I can say is you need an external monitor to focus with. Its not so much the SGpro's fault, this is the same with any adapter, but the on board screen isn't big enough to focus with alone. I did a film with an SGpro + HVX and we used a 20inch PC monitor plugged into the camera, and without it, im pretty sure the focus would be soft in some places.

Other than that, its important to remember that you cant zoom in (unless you have zoom lenses). if you are using a prime with a fixed focal length and you want the shot closer, you have to walk the camera closer to the subject.

Are you using the flip or non flip? If your using the flip dont forget you will have to sit through the boring task of flipping everything upside down in post, and your video monitor will have to be upside down. If your using the flip module, then this isn't a problem
 
hoarp001 said:
If you're NOT using the flip dont forget you will have to sit through the boring task of flipping everything upside down in post, and your video monitor will have to be upside down. If you're using the flip module, then this isn't a problem
Click to expand...


fixed.
 
Here is my list:

-Change out the AA's at the beginning of every shoot day, regardless. The SG gets fantastic battery life but I have always made it common practice to keep the gear running with fresh batteries for each day. You don't want to concentrate on whether or not the ground glass is slowing down.

-Watch the battery connection. The slippery connector can sometimes lose contact if even turned slightly out of its position. Its the one major gripe I have about the SG. Just tape it onto the connection and velcro the battery pod to the unit. Also tape the battery pod case shut so that it doesn't come apart because it can.

-Cover yourself when it comes to backfocus and framing setup. Use an HD monitor and see where exactly you need to frame for the ground glass beyond vignetting and soft edges. If you think you are clear, play it safe and go slightly past that setting. I can't tell you how many times I see others push it to the edge and projected blowups show the typical soft side or vignetting not seen in the field during setup. Keep internet distribution in mind for this as well because you'll see the full frame online.

-Keep the dust out/achromat/glass clean. Blow ups will show minor spots so just keep an eye out.

-See if you can keep the unit built between shoot days. I use a large case solely for the camera and a built adapter setup. This keeps consistency and allows faster camera construction for the following shoot day.

-Double check backfocus every day. Decide a "range" that covers the corners and the center. For example the center of the frame might be sharp at MF70 but at MF73 the corners are sharpest. So if your composition calls for subjects in the corners then you'll know where to set the backfocus instantly.

-Write all settings on camera tape (white 1" gaff basically) and stick straight on the adapter or camera for the 1st to read. He/She should be adamant about keeping camera settings consistent.

-USE AN HD MONITOR. I use a box with pass thru one in and two out. Basically running component off HVX into the box then one signal to LH900 mounted on the back of the rail system for the operator and the other signal to an LH80 for the assistant mounted on top/side/or off the rails. If I need a video village I use a 3 way to a hardwired bigger monitor (LH1700) or a down converter to an SD wireless and then to a cheaper SD monitor. Don't let soft focus ruin a shot. Anything is better than that bloody LCD.

-I like to setup in this fashion: I screw the step down ring onto the achromat tube (with three screws) first. Then I screw that whole unit onto the camera, being careful not to overtighten and to use only the step down ring as a grip for screwing on the whole piece to the camera's threads. This prevents you from first screwing the step down ring on to a snug fit then adding the achromat tube and further tightening the step down onto the camera due to the torque added to it while turning the tube ring. Make sense? DON'T use tools on the step down ring if it gets stuck or you will strip it. Position your body over the camera on the smart side with your right arm extending over the camera and pinch the edges and twist while creating a wiggle motion side to side. You're essentially letting the threads realign.

-Check your collimation at the beginning of the shoot with each lens. If your gonna use a tape measure, ensure that is it correct. I prefer to use tape as an initial measuring tool but the monitor will ultimately be the tool of choice for focus. These SLR lenses don't have enough witness marks anyway.

-Watch the lens mount for wear and tear. The SG typically has good mounts which keep the lens snug but some might be worn enough to where a focus rack will wobble things slightly enough to affect picture.

-With the step down and achromat tube mounted onto the camera, slide the adapter and flip (built together) onto the rails and into the tube for initial fitment. If the flip edge doesn't fit squarely into the tube, then loosen the four flip screws and slightly rotate the flip until the whole unit slips in uniformly. You'll feel it because its smooth like butter. I prefer the SG installation FAR more than any other adapter. Its just 3 thumb screws and the bottom rails screw to remove the entire thing. Simple yet effective.

-Spend time mounting all wide angles to see any vignetting issues and adjust the backfocus/zoom settings accordingly. Anything from a 35mm beyond will likely need some attention. The SG is pretty good about lightloss at the edges/corners but don't expect perfection with a 25mm F2.8 or wider. A fast 28mm is about the most comfortable before becoming a bit soft and darker in the edges. This is common to any adapter.

I'm sure I am missing about 30 things so if I can think of any others i'll update. Goodluck.
 
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some colours like blue skies and grey walls and darkly lit paper will explode with grain.

if you have blue skies in your shots make sure you have a HD monitor to check if the disk is showing. a slight change in exposure and or aperture will make this better or worse. (this type of grain is really bad because it comes in circular curves.)

grey walls and grey represented stuff like darkly lit white things. will get grainy. at least it happens on my dvx... might be the dvx's fault. but i think it's an adapter issue. (this type of grain is more akin to adding gain)

otherwise expect awesomeness :D
 
Ok, I am reading all of your responses, THANK YOU!!!
So here is list of what we have and what I may already know that you guys pointed out for me:

1. Using a Carrion for focus, will also have a 24" director's monitor available if it can be set up close by.

2. Using the Carrion's Flip function so the monitor will flip the image for the op and ac... the director's monitor will be upside down I guess.

3. I will be editing, and I guess I will have to put up with the flipping of all the shots... hey at least we will gain a tiiiny it of light out of that.

(reading the rest of the posts)
 
Ok, so I finished reading (and doing some pre-production) and I guess the only other things to mention or mention again:

I will have CordVision there though and he owns the SGpro so he should be able to set it up... I don't know however if i can keep it... but if I can then I have a Pelican 1650 that I bought hoping to be able to buy my own adapter and keeping it all put together like you said Avenger.

I will have no flip module but I will flip on the Carrion. Should I worry about not having enough space between the GG and HVX?

The Carrion has a bit more resolution than the Panasonic BT-LH900, it also displays NTSC colors amazingly well and at least comparable to the Pana.

I don't know if the 24" will be an HD monitor or not.

I have a tape measure... a 50ft. very nice one, but like Avenger noted, it might be est to just rely on the monitor since you'll never know with the nikons if they are perfect or not. If important and possible we might do both...

I will have 24mm that we might need for the apartments... thanks for mentioning that Avenger! But we will try to use the 35mm as much as we can.




Ok, so I guess the only thing to worry about is getting the rig set-up and testing it with all the lenses.. I am scheduling a production meeting for the 13th but we might end up doing this on the 14th-15th when we plan to do camera tests for the talent and wardrobe...
 
Are there any examples of grain in blue skies or grey walls? I can't recall ever seeing this.
 
Also never had an issue with that but I saw it in footage of others. I guess it is a combination of a very small aperture combined with high shutter speeds...
 
here he is... Corvision is the guy I've been talking about...

I guess maybe it might be that you just see the HVX's grain much more when you look at pale colors...?
 
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