C100: I need a New Look for 2017. What's your fave interview lens besides the 70-200?

[Eric Coughlin]

Most likely you used the standard Snapbag & not the "Big".

Oh, right, that's what I get for seeing "Snapbag," jumping to conclusions, and not thoroughly reading your post or clicking on the links you gave. Yeah, I just used the small Snapbag before.

Snapbag Big is 31" x 23". Snapbag regular is 17" x 17". D-Fuse is 19" x 19". The price difference is rather astonishing, though. $60 for the D-Fuse with a grid, and $936 for the Snapbag Big with the grid. The Snapbag big does look like a decent setup, though.

The Arri S30-C softboxes choices are 36" x 48" (Chimera), 24" x 24" (Snapbag), 39" x 39" (Snapbag Octa 3), and 61" x 61" (Snapbag Octa 5); I don't see a grid option for the Octas, though. I'd say the Chimera at 36" x 48" looks like a nice size, practically being a 4 x 4, but with a grid, all on one light stand, and around twice as bright as an Astra. I suppose the Skypanel softboxes seem cheaper than the Litepanel softbox simply because the Skypanel is so much more money than an Astra that the softbox to light cost ratio is more reasonable.

Eric you need a holiday to Fiji!

Maybe once I'm Ned's age, in 30+ years from now.

 

[Run&Gun]

We're posting light setups? ; )
More of a 4x4 person myself. I want my sources to have the look and feel of windows.
If I have the room I like to bounce a strong source into beadboard then through a 4x4 of 251.

And I took the leap and made my first large purchase of 2017, a matching lens for my 30-105:

Ah, Bill... A man after my own depraved little heart, on more than one level. You'd think I learned my lesson after buying a 17-120 before Christmas, but I'm about to pull the trigger on an ENG lens I ran across on eBay. I still do a ton of 2/3" and this would give me a second long lens so I would have two w/a's and two longs.

 

[Run&Gun]

Eric, I was in in the pre-order/Kickstarter for the Hive 100C's, so hopefully I'll be receiving the two I ordered in the next two months. I believe they're saying March delivery for the Kickstarter orders. I'll let you know how I like them. I feel pretty good about them and have high expectations. I know a few guys with their plasma lights and they really like them.

 

[Eric Coughlin]

Eric, I was in in the pre-order/Kickstarter for the Hive 100C's, so hopefully I'll be receiving the two I ordered in the next two months. I believe they're saying March delivery for the Kickstarter orders. I'll let you know how I like them. I feel pretty good about them and have high expectations. I know a few guys with their plasma lights and they really like them.

Yeah, I have two Practlite 602's which are similar and better in a few ways than the Hive 100-C, so I'm interested in the 100-C as it's the first Fresnel with RGB control. I was tempted to join the Kickstarter, but I've never like the concept of Kickstarter for most applications (well, typically because it's not an actual investment ("give me a lot of charity money to make my movie (instead of giving it to a real charity) and in return I'll give you a t-shirt and you can view the movie"). Actually, since this is buying a product it's different so Kickstarter isn't the issue for me. I just didn't want to be out of $800 with nothing in return for an indeterminable amount of time; after seeing how long the SoftPanels Kickstarter is taking to fulfill their orders, I figured I'd wait and buy at full price once they're available. Plus that will give time to see how people like them.

Couple that with an Arri Skypanel and doing colors for lighting setups will become a lot easier, and probably result in actually using color more often. I suspect as RGB lights become more popular having colors in interview setups and such will become a re-found trend (for better and for worse). It seems corporate interviews of perhaps the 80's and 90's were a shrubbery in the background with a background light with a gel on it. I often use the Practlite as a background light, sometimes adjusting the color temp to add color to the background, but full RGB control will give a lot more options at the tip of your fingers (with a phone ap) rather than dragging out the gel pack.


Last year I spent a lot of my money on camera gear, two C300 Mark II's and the 15.5-47 lens, so this year I'm aiming to spend money heavily on lighting. The Hive 1000 sure looks interesting. Something about HMIs scares me; maybe it's dying from using them improperly. That, and breaking a bulb, not striking properly, etc. HMIs also seem to not be a one-man-band tool, while I could more so see using the Hive 1000 as a one-man-band. My goal for now is to have a powerful and versatile lighting kit, that I can still fit in my small SUV (Mazda CX-5), hence say a Skypanel S30-C instead of the S60-C. That's one reason I hate Kinos, due to their bulky size for the amount of output they have. Maybe I'll get a grip van eventually, but that's like an extra $20-$30,000 investment, and isn't looking to be something I'll get within a year or two.

 

[nedcam]

Hey Eric,

What I meant to say is that if I know they will be coming in wearing glasses, I ditch the diffuser disc and just clothes pin diffusion on the Diva. Sometimes I have a generic set up and multiple subjects come in, some will have glasses, be black, be bald, be wearing a white shirt, etc. and I only have perhaps 5 minutes to tweak between interviewees, so I keep it simple. Unlike Bill T's Instagram video, my set ups are much smaller, often I'm working alone and never have enough time. I do like a larger source look, such as punching through a 4x4, but I lack time, room and the desire to shlep more gear. In fact, on CL I just sold 6 shot bags, kept the nicest looking remaining four, and almost never take any with me anymore. I now hang heavier cases by their shoulder straps to act as ballast.

You mentioned on the road you ran out of stands. I use Manfrotto spooning stands so they take up less room and I can carry more, plus in the side pockets of my Portabrace tripod bag I carry a couple more, and when traveling I don't boom from overhead, that saves another stand, I use a mic table holder. The Rifa was invented for news, so someone could open it and aim it within ten seconds. But it is a fire hazard in that some crew members will plug it in before opening it, and the switch is in the On position, and then you have a 4' flame going. So I don't let anyone touch the Rifa but myself.

I don't like using soft boxes anymore, (I will use my Rifa from time to time), because I need to change the distance between source and diffusion depending on who sits down. Can't do that with a box. So I found the diffuser that Jean recommended is perfect with a Diva. To me, the Diva is the perfect light, I carry daylight and tungsten bulbs. I own one LED and that's because the other dropped two feet and LEDs don't survive drops, incredibly fragile because they're 80% circuit boards. I don't feel there's enough umph to punch through diffusion very far.

As to the Easy Rig, I would never consider one because in my neck of the woods, if it is thought you have a "bad back", there goes your career.

Although I am slow and at the end of my career, I remember hearing a million times regarding our profession: "It's not what you make, it's what you keep", so when biz is good we make a lot of money, the idea is to invest in and make it grow, rather than just buy stuff. That won't make your lighting better. I became 63 in the blink of an eye! Bill T is in LA, it's own universe, where he needs all that stuff. Tampa and Chicago? Not so much.

Chuck: Too late for Asheville. The locals are complaining there's 9 hotels being built downtown that will block the view of the mountains from sidewalk level. We spent a week with a realtor including checking out all the little surrounding towns. We have to figure out: What's the next Asheville? Not much video work there so you best be retired.

As to Ben McCoy, wow, I love that guy's look. When I shoot in a residence I try to make it look like it's natural, source light (unless it's an aging female). I want to go more natural all the time now, when possible. Even take them by a window! More gear will not make you a better filmmaker, right? Oh yes, just did this scene for the start of a pediatric rehab fund raising doc, this boy said, "My name is Liam, I had a stroke when I was five years old." I could tell when I pulled up the house was too small to shoot in, so I brought him next to his front room window. My idea of perfect:

 

[Josh Bass]

I would like to have as LITTLE crap as necessary. I need better sticks and some non-tungsten lighting, would like to get some kind of 3 light 1x1 LED kit at some point (yes Divas ARE very sexy but what if I'm moving around quickly somewhere getting interviews or even using lighting to supplement the environment for b-roll and want a battery powered unit?) a 4x collapsible frame to diffuse it through, maybe a slider. Then I'll really be set unless a specific job or client demands more. Who wants all this crap? If you need it you need it but wouldn't your life be more FUN (i.e., the reason we all got into this in the first place) if you didn't have to haul ten tons of crap around? Loading, unloading and hauling (let alone paying for) gear isn't fun, it's the image creation that is. I say the less between you and the fun part of the job, and the less you can get away with without quality compromise, the better.

 

[Eric Coughlin]

You mentioned on the road you ran out of stands. I use Manfrotto spooning stands so they take up less room and I can carry more

I have a few Matthews Merf Mini stands, which are the equivalent of the Manfrotto stands, except I think more sturdy without adding extra weight or bulk, hence why I got the Matthews.

My goal with a couple out-of-state shoots I did was to pack everything (two C100s, lenses, three point lighting, light stands, slider, Glidecam, tripods, audio, etc.) into just my carry-on and backpack so I wouldn't have to check any bags. This is what I mean by there was no room for another small light stand...

As to the Easy Rig, I would never consider one because in my neck of the woods, if it is thought you have a "bad back", there goes your career.

Easy Rig doesn't necessarily mean you have a bad back. I see it for two things; one, to relieve weight, and two, for the aesthetic. For doc work I could see it as being just a back reliever; with an ENG style camera, you can get good doc style handheld shots without the need for an Easy rig, I suppose unless you have a bad back. But for narrative and commercial work, sometimes the camera setup is 20-60 lbs (a lot more than a typical ENG setup), so the Easy Rig enables the cam op to last longer without putting the camera down, as well as preventing them from having future back problems. And most narrative/commercial shoots have enough time to put the Easy Rig on and off.

Then as far as aesthetic, it's a different look from shoulder mounted and handheld, particularly if you actually let the camera float instead of just setting it on your shoulder to only use the Easy Rig to relieve weight. The look is something in-between Steadicam and shoulder mounted. A great look for drama, I think. There are also more height possibilities than what you get with shoulder mounting. I did a short film recently filming child actors, who were around half my height, and there's no way cradling the large camera setup from my waist would have had the same feel of motion to it as I got from using the Easy Rig.

 

[bill totolo]

Bill, why don't you go straight through the diffusion instead of the booklight? I'm guessing because it spreads whichever light you're using more evenly than straight through diffusion but any other reasons?

Rob,

It has a completely different feel. Most conspicuously, it spreads the light more evenly and wraps around the face more, while subduing the nose shadow in a pleasing way.
It also has more fall off, and hides the beam of the light source.

Try it, I think you'll like it.

BT

 

[morgan_moore]

That 'roman' scene is exactly why I would not go near an easy rig. one step right from the operator and he is going down.. with camera and gubbins attached ..awful. Id only use an easy rig on formal drama (which this may have been) with a spotter (not seen). Why are the girl and boy stage side not looking after the operator?

ENG with an easy rig? No thanks.

 

[Eric Coughlin]

That 'roman' scene is exactly why I would not go near an easy rig. one step right from the operator and he is going down.. with camera and gubbins attached ..awful. Id only use an easy rig on formal drama (which this may have been) with a spotter (not seen). Why are the girl and boy stage side not looking after the operator?

ENG with an easy rig? No thanks.

If I needed a spotter I would have asked for one. I don't recall feeling concerned about the 17" drop which I was well aware of while standing still for the shot. I'd also probably rather fall down while wearing an Easy Rig than a Steadicam, and with Steadicam you're more likely to trip considering you're typically moving during the shot.

A lot of times with Steadicam I'll dispense of the spotter as when walking backwards, if I know my surroundings, then I feel I'm more likely to trip on the spotter than if there was no spotter.

 

[morgan_moore]

yep - I would not wear either rig in a situation that was not scouted and controlled.

 

[indiawilds]

I don't recall feeling concerned about the 17" drop which I was well aware of while standing still for the shot.

I am sure you would have counted the number of steps etc and made a mental map before shooting. However, things happen. I have seen a guy climb onto a safari vehicle seat to get a better view of a tiger and he stumbled. Seats are hardly 14-15 inches tall. He had a slip disk. Even a minor stumble while carrying a load can result in a sprain/tear etc. 20 years ago, I once had it in a beach while evading waves. People don't realise that when problem comes, it comes in the most inopportune moment.

If there is a chance for a misstep resulting in a drop, someone should be holding the camera dude. Be safe.

 

[nedcam]

I travel a lot on planes (although that's less and less) and started to become a miniaturization freak, not just to avoid excess weight but to make everything more compact. I fell in love with these Manfrotto spooning stands, here's 4 at 6.5" inches tall:

And also, my Portabrace Mummy tripod bag has long side pockets, so I can add another two of these flat stands plus my boom pole and Rifa are in PVC protective pipes, so with my Sachtler 20 the case is 49.9999999 pounds. I cut off the shoulder straps, who wants to mountain climb with a tripod bag? So if you need a case for your tripod it should double as a stand carrier.

Lastly, if you have any friends who are with a bona fide media outlet, have them vouch for you on an official Tampa Police Department press pass application. Once you have that, the excess baggage charges at the major airlines are really reduced. There comes a tipping point where your travel expenses get so high that the clients ask if you could refer to them a local DP, which happens to me an awful lot. If they are a PITA client I tell them to "just call a crewing service", but most are now my sworn enemies, so I prefer to recommend someone who will return the favor, or send a bottle of good wine at least.

Also, when in a union venue wearing your Press Pass, the union guys stay away, like garlic is to vampires, and if you need to cover a demonstration or something with a police line, that helps to have. This is common with social issue documentaries.

 

[Eric Coughlin]

But that bag won't fit on carry-on, Ned. One great thing about carry-ons is they don't weigh them. I think on one trip my carry-on was 60 lbs and my backpack was around 30 lbs, so 90 lbs of carry-on with no extra fees, no risking lost luggage, no waiting for baggage at baggage claim, etc.

I've heard multiple video people mention going to fakeIDs.com or some similar site to get their press badges printed out, and then use those at airports to get discounted rates with more lenient weight limits.

I am sure you would have counted the number of steps etc and made a mental map before shooting. However, things happen. I have seen a guy climb onto a safari vehicle seat to get a better view of a tiger and he stumbled. Seats are hardly 14-15 inches tall. He had a slip disk. Even a minor stumble while carrying a load can result in a sprain/tear etc. 20 years ago, I once had it in a beach while evading waves. People don't realise that when problem comes, it comes in the most inopportune moment.

If there is a chance for a misstep resulting in a drop, someone should be holding the camera dude. Be safe.

I can't give much argument against a spotter for Easy Rig, other than when it just doesn't seem necessary.

But for Steadicam I sure can. I just got off a shoot today. Walking backwards with Steadicam. The one time I almost trip is when I step on the foot of the person behind me; my spotter, who didn't do a good enough job of keeping his feet out of my way. I did need a spotter, because I was going backwards through some bushes, and then around a bend, at a somewhat speedy walking pace. But any time I'm well familiar with my location and things are predictable, I'll do without the spotter, as they just become the nearest object that I'm most likely to trip over.

yep - I would not wear either rig in a situation that was not scouted and controlled.

Guess that eliminates Steadicam at live events then.

 

[doubledark]

I travel a lot on planes (although that's less and less) and started to become a miniaturization freak, not just to avoid excess weight but to make everything more compact. I fell in love with these Manfrotto spooning stands, here's 4 at 6.5" inches tall:.

Ned; do you know what Manfrotto calls these stands?

But that bag won't fit on carry-on, Ned. One great thing about carry-ons is they don't weigh them. I think on one trip my carry-on was 60 lbs and my backpack was around 30 lbs, so 90 lbs of carry-on with no extra fees, no risking lost luggage, no waiting for baggage at baggage claim, etc. .

Down here we get 7kgs carry on and they check the bag size!

 

[Eric Coughlin]

Down here we get 7kgs carry on and they check the bag size!

They check the bag size here; if it looks too large they'll have you put it in a thing that checks it's size. But, they don't check weight. At least not typically. I seem to recall Spirit Airlines checks weight and has more limitations on carry-ons. Spirit is also the worst airline to fly on from what I read.

 

[puredrifting]

They check the bag size here; if it looks too large they'll have you put it in a thing that checks it's size. But, they don't check weight. At least not typically. I seem to recall Spirit Airlines checks weight and has more limitations on carry-ons. Spirit is also the worst airline to fly on from what I read.

You must be flying domestically only? I flew BA, Virgin, Air France, Air Maroc internationally last year on several overseas shoots and they all weighed all carry on which really turned it into a nightmare, particularly on our Morocco shoot last May for Fox. We had to petition a senior Air France manager in Paris to get all of our gear onto our flight back home, we had maxed out even on paying the additional baggage charges, like an extra $1,000.00 and even then, we had to argue that they had let us bring it all from LAX to Paris to Casablanca and back from Casablanca to Paris. It was stressful, expensive and not fun. I am getting to the point where on our next international, I am just going to ship it all FedEx/DHL and pray it makes it to our hotel. I am weary of arguing and paying exorbitant fees to just get our work tools to the location. FedEx/DHL will cost a fortune but the baggage charges are starting reach over $1,000.00 each trip too and even in paying the charges, they still restrict your party's total weight brought onto the plane. They don't care about press passes anymore and all of the foreign carriers limit your carry on now to 12kg/26lbs, which as all of you know, is not nearly enough to just bring a pro camera and accessories and your laptop. So frustrating.

 

[Eric Coughlin]

You must be flying domestically only?

Mostly. I flew to Rome, Italy on one video trip. I recall I did check a bag for that trip, so I don't remember how much my carry-ons weighed. But I'm pretty sure they didn't weigh my carry-ons on that trip either. I've probably flown around twice a year over my lifetime, so 60 flights, two being out of country (both to Europe), and I don't recall ever having a carry-on weighed.

 

[Bern Caughey]

Airlines often weigh carry-on bags when traveling outside of North America. Not every time, but often enough that it is an issue.

Some even have impromptu weigh stations by the boarding gate, though these are less common. If caught at one ask to speak to the Chief Flight Attendant (aka Flight Purser), & hope they'll waive you along.

 

[Eric Coughlin]

They also don't weigh people. So you can buy large clothes, and after checking through security you can then put on say large pants, with a tripod strapped to each leg, store a couple lights in your "stomach area," etc.

Think of all the video equipment you could store in this much space...