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Panavised Canon 5DMKII


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#1 Charles Papert

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Posted 25 July 2009 - 03:36 PM

Things only get weirder.

I had considered weighing this sucker down and using it on my big rig but I wanted to see what it would be like keeping it in the lightweight realm--it worked out fine. In fact, for one particular shot that required backing down a long ramp (and climbing back up for each reset), I was more than happy to have the minimal weight of this setup.

Attached File  5Dsteadismall.jpg   162.47KB   470 downloads
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#2 Jerry Franck

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Posted 25 July 2009 - 09:08 PM

Things only get weirder.

I had considered weighing this sucker down and using it on my big rig but I wanted to see what it would be like keeping it in the lightweight realm--it worked out fine. In fact, for one particular shot that required backing down a long ramp (and climbing back up for each reset), I was more than happy to have the minimal weight of this setup.

Attached File  5Dsteadismall.jpg   162.47KB   470 downloads



oh wow! :blink:
I guess those DLSR's are really showing up on productions now...
I take it, that's a PRO Lite?
And what kind of video output does this camera have? Composite OUT right but not a BNC connector...?

best,
Jerry
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#3 Alec Jarnagin SOC

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Posted 25 July 2009 - 09:33 PM

OK, its odd seeing any still camera with a PV mount, but I have seen it before. Very odd seeing an SLR on a Steadicam, but we've seen it before. Outright disturbingly weird to see a cinetape mounted on it!

Looks like fun Charles.
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#4 Lawrence Karman

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Posted 25 July 2009 - 09:37 PM

Charles, you are Mr cutting edge! Where did that camera plate come from?
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#5 Charles Papert

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Posted 26 July 2009 - 03:31 AM

Jerry: that's a composite rig I cobbled together from stock parts from 4 manufacturers plus custom bits. The outputs of the 5D are composite via a 1/8" pin, supplied cable has RCA connects.

Alec: yeah, the Cinetape is sort of the crowning glory, but considering that this camera delivers shallower DOF than 35mm due to the larger sensor, it's a tough one on the AC's so they need all the help they can get.

Doc: camera plate was part of a collection of bits and pieces that PV H'wood has made up for this show. I had to use this one because of the Zacuto lens support that was in use; it projected below the level of the camera itself so it conflicted with the Steadi dovetail and I needed to offset everything vertically, luckily they had this plate setup. It took me 2.5 hours to get this rig dialed in with various false starts and redo's; then we built the XL onto my regular rig and were done with that in 15 minutes. Says it all.
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#6 Brad Grimmett

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Posted 26 July 2009 - 05:01 AM

So is this a 35mm/5D show? Or were they just testing?
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#7 Charles Papert

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Posted 26 July 2009 - 08:03 AM

The former. I joined them mid-stream.
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#8 Danny O'Neill

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Posted 27 July 2009 - 04:32 AM

The 5DMKII and Stedicam is quite popular in the wedding video market.

www.stillmotion.ca have shot quite a few weddings with nearly all 5DMKII. Mixture of shoulder mount, Stedicam Pilot and Flyer.
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#9 Danny O'Neill

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Posted 27 July 2009 - 04:30 AM

The 5DMKII and Stedicam is quite popular in the wedding video market.

www.stillmotion.ca have shot quite a few weddings with nearly all 5DMKII. Mixture of shoulder mount, Stedicam Pilot and Flyer.
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#10 Charles Papert

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Posted 27 July 2009 - 12:02 PM

I shot a doc project a week before this one with three 5D's...pulling one's own focus on fast moving subjects was brutal. I guess you must get used to it but still. Danny, are you just doing "set and forget" with focus on the Pilot/Flyer, i.e. combination of wide angle/large aperture/high ASA to keep depth of field larger?
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#11 Sydney Seeber

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Posted 27 July 2009 - 12:38 PM

combination of wide angle/large aperture/high ASA to keep depth of field larger

Only way to do it, man... put that shit on F16 and a 24mm lens. Want zoom, well, we all have feet... Yes that's an extreme example but that's the world I live in mostly ... My background is almost exclusively documentary type work. One particular organization I do work for is really balking at buying these cameras, they're afraid everyone's gonna f- up the focus. I've been trying to educate them that if you know what you're doing, it isn't as much of an issue.
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#12 Danny O'Neill

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Posted 28 July 2009 - 04:54 AM

I shot a doc project a week before this one with three 5D's...pulling one's own focus on fast moving subjects was brutal. I guess you must get used to it but still. Danny, are you just doing "set and forget" with focus on the Pilot/Flyer, i.e. combination of wide angle/large aperture/high ASA to keep depth of field larger?


Pilot for me. We fly Sony FX1's and I typically get my focus by getting as close to the subject as I plan to in the shot and focus for that. I then keep it as wide as I can and do my move. While im further away the focus isnt as sharp as it could be its hardly noticeable. If I were to focus the other way around then you will really notice it when I get closer.

If I plan to shoot with the subject centered, the light is good and Im doing a slow move then I might try the auto focus as there pretty good on the FX1 but normally I cant keep the bride or groom in the centre so auto focus would be no good. I try to control light with the iris as Gain grain is never a good thing in video. ND filters too, if you close the iris too much you can get the light shearing off the blades and gives a funny effect. We also use shutter speed sometimes if were going for a particularly fast, dynamic effect.

Now, flying a 5D is a whole new ballgame. We dont do it ourselves but I know plenty who do. the problem being that your generally going to get a lot shallower DoF so as you know keeping your focus is harder. You guys normally have your follow focus to sort all that out. so for a 5D keep a fixed distance or wide lenses is a must. I know Stillmotion.ca use a lot of 5D's. From what ive seen the steadicam shots are normally quite wide shots. They then use the 5D shoulder mount with a rack focus for those closer, really shallow shots.

Even with a wide shot on the FX1 I find myself constantly changing my focal length. Sure, no where near as pro as you guys and many other wedding videographers look at me like Im crazy (as its a lot of work) but its what I like.

I know you film guys soft spots are a no no. But in the documentry/wedding world a bit of focus hunting isnt a bad thing. New styles.
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#13 Jason Gorman

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Posted 28 July 2009 - 01:32 PM

Speaking of focus Charles what was your impression of the Hocus Focus system?
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#14 Charles Papert

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Posted 28 July 2009 - 04:05 PM

Keeping in mind that the HoFo is not intended for those used to Prestons or Bartechs etc., it should satisfy those who use still or video lenses rather than cine lenses (it has limited rotation) and are extremely cost-conscious and would rather make concessions than pay more. That said, it's simple and gets the jobs done and should make a lot of users very happy. Peter Hoare is doing a good job of taking in feedback and it has evolved greatly with many pro-level features.
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#15 Jason Gorman

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Posted 28 July 2009 - 04:18 PM

Keeping in mind that the HoFo is not intended for those used to Prestons or Bartechs etc., it should satisfy those who a) use still or video lenses rather than cine lenses (it has limited rotation) and B) are extremely cost-conscious and would rather make concessions than pay more. That said, it's simple and gets the jobs done and should make a lot of users very happy. Peter Hoare is doing a good job of taking in feedback and it has evolved greatly with many pro-level features.



Thanks, sounds right up my alley atm :)
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