Anyone flying (steadicam) F3 yet?

starcentral

starcentral

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Just wanted to get some people's feedback who might be flying an F3. I have a project coming up that will require steadicam for the majority of the shoot, so wanted to know what products people have actually used and if they have any comments on the results or better yet quick video clips even.

Also curious if people went with fixed focus setting or a remote system.. any info on that would be great.

Thanks.,. .
 
Yes, you will need at least a Flyer and unless you are going super wide with the iris choked down some you will require a wireless follow focus. If you are going to be using an outboard recorder heavier than the nanoflash, samurai or the Gemini 444 you will require a bigger rig like a Tiffen Zephyr or a full size rig starting at an Archer and going up.

No real gotchas other than what you would expect from a full sized sensored camera on a steadicam. Watch your power load going up the post, if you are powering everything from the bottom of the sled. I'd suggest hiring an steadicam operator. Besides the stuff related to basic camera operation, you have a myriad of cable and accessory requirements that you may not be able to anticipate. Missing one can and will often be a showstopper. And there is a the issue of operation which shouldn't be overlooked.

Here is the Steadicam Operator Associations' database of operators by country and region...

http://www.steadicam-ops.com/operators.shtml
 
Ran mine for 3 days on steadicam w/operator, he was very impressed with camera. Balanced very well, with Abel/Element Technica plate. Thought I might need dovetail plate for room to slide, but no need. Had AJA mini on back as well. As for focus, always go for wireless. It's the only way to go. It will get very annoying having the AC touching and bumping the rig every time for focus adjustments, even with a whip.
 
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Any particular focal length you guys find works best to have a nice working depth of field range (so your subject can move a little free) however without distorting the image from having gone too wide?

Everyone says the trick is to "shoot wide" but I don't want to agree to that. I know I could get a good DOF range by closing up my iris to f5-f11 with a 50mm focal length so again, any advise on what you've found works best?
 
I used the Optimo 28 to 76 zoom. Lightweight and not gigantic. As for focal length...depends on your shot. Yes wide is always easier, but 50mm is still doable, but focus is still an issue and your operator and AC is going to have to work a bit harder. It is just a matter of how much time you have to craft and execute your shot. There is no perfect focal length, it's whatever the shot or mood requires...
 
I know there's no "perfect" focal length, but for example look at a wide lens compared to 50mm at the distance needed to frame a subject the same, at the same iris setting you will have less of a total DOF range with the wide angle then compared with the 50mm. But the wide angle would appear smoother then shooting 50mm or more tele-photo even. Isn't that correct?
 
You mentioned there is a heavy call for steadicam in the shoot. Do you have a shot log figured out? Are you going to try a bunch of oner's (continous long shots). You should know the kind of lenses you need before jumping in. Going with a 50mm or higher is going to require a good, very good operator. You will need a ver good experienced focus puller. Most steadi work are walk & talks and b-roll with the camera moving in on dome interesting OTS work or doing dolly like work in a pinch. If you are planning it to be A-camera you have lots more planning to do.

I would shoot 35mm or wider. Get. Depth of field iApp fo figure out focal length stuff
 
We've used Milan Holec on F3 Steadicam on several shoots (thanks Noel). He uses a full SC rig. With all the wireless follow focus, transmitters, mattebox, etc., it's like flying a heavy camera. We mostly use the Tokina 11-16, but occasional a longer lens but never more than a 50mm.
steadi.jpg
 
I would definitely have a complete shot list figured out. It would be various cuts combining steadicam and longer lens loose on sticks (so the shots float around more and don't appear static).

I am looking into hiring an operator as well. I myself have flown a 35mm rig before with alright results but want a more professional look and can't afford to waste people's time on this shoot while I horse around with it. I need to focus myself on other elements of the project.

Regarding pulling focus, is there a sweet f-stop people use to increase their overall DOF range? It's hard enough pulling focus on sticks at f2.8 so I have to imagine the irises are closed down substantially as much as possible to make the AC job easier. That's what I'd really like to know. (These guys with all their tricks - hehe)

Powervideo - what f stop are you using mostly, if any?
 
It's whatever your budget allows, If you have the lights and support you can have a workable F stop, if you don't have to shoot wide open, don't. But you have to just work with what you are given lighting wise if you don't have the lights. Your AC will love you you if you give him a 4 or a 5.6 on and interior. Outside you have some more lee way. But that's what is great about this camera, its so clean on the noise you can ride the gain to 12 db and under to get a good F stop.
 
I did use my GlideCam Smooth Shooter with just the AB battery and a Nikon 24mm f2.8 set at F4.5 I had a sound cable tethered to the shotgun on a boom.
My actors kept up with me to hold focus, but even the extreme background was in focus when I checked. It was shot at night outdoors.
 
Another thing to worry (or think) about with the Steadicam and focusing is if the actors are going to be hitting hard marks or if it is a more "floaty" scene. If it is a floaty scene it will be substantially harder for the AC to pull without a monitor (preferably a large wireless one) If you get hard marks for the actors and op, should be fine (hypothetically of course)

Just another thought.
 
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