Glidecam iGlide Smartphone Mount

The new Glidecam iGlide Smartphone Mount is designed to allow smart phones such as Apple's iPhone to be attached directly to its HD-1000 Hand-Held Camera Stabilizer, to transform mobile phone video into smooth, professional-looking footage.

The lighter the camera, the more prone to shake it becomes, and mobile phones are amongst the smallest, lightest cameras, so need stabilising more than most.

The iGlide and HD-1000 combination will allow the phone to float, always balanced, and isolated from any shaky hands. The iGlide costs $49, while the HD range of stabilizers costs from $399.

Related post: Steadicam Smoothee steadies iPhone

By David Fox

First independent Red Epic-M in UK

The Gear Factory, the kit hire division of The Post Factory Group, has received what it claims is the first Red Epic-M in the UK (outside of Panavision and Red Europe) and although the camera is still in development, it sees great potential for high-end use.

“This is the handmade version of the Epic which Red are issuing in limited numbers to people with a history of working with them”, said its CTO, James Milner-Smyth. “We were very early in on the original Red cameras so we were head of the line again on the new ones”.

5K 120fps

A key feature of the camera is its ability to shoot 5K Redcode raw images at up to 120 frames per second. At lower resolutions it should eventually run even higher.

“Our clients have always loved the slo-mo features of the original Red camera, but it came at the price of using a smaller portion of the sensor and so a lower resolution. 5k slo-mo is fantastically detailed and keeps its sharpness and the ability to punch in when downconverting to HD,” he said.

“Not all features are enabled yet, and the firmware is still in development so we will be cautious about what projects these cameras will work on for now.” Its first projects have been luxury brand shoots for clients such as Burberry and French champagne label AMB.

Solid state storage

It records to solid-state drives (SSDs). “Spinning disk hard drives allowed for hours of filming on the Red One but could be problematic in situations where there was loud noise or vibration. CF memory cards were far more reliable, but with smaller record lengths. The SSDs are a huge improvement and allow higher capacity with reliable recording and faster offloading.”

3D

The Epic-M is significantly smaller than the Red One making it easier to integrate into lighter 3D rigs. It is already being used for the 3D movies: The Amazing Spiderman and The Hobbit, the prequel to The Lord of the Rings, which Peter Jackson is shooting in New Zealand. James Cameron, who is preparing for Avatar 2, has apparently ordered 50 Epic-M cameras. Its size also makes it more suitable for use on a Steadicam.

High Dynamic Range

Another improvement on the original Red is a high-dynamic-range mode (HDRx) that captures images at different exposures. These can be selectively re-combined in post to show more in the shadows while protecting details in highlights. “We are doing our own testing now to see how best to use this and how well the merging can be done. But at first sight it looks useful for tricky shooting situations where the cinematographer does not have as much control over the lighting as they’d like.”

Post-Production

To cope with the Epic-M, it has had to upgrade the data handling of its post division, as 96fps at 5K full frame resolution means "we have been seeing clients shooting around 2TB of data on a typical day. So, offload systems, drives, networks - everything needs to be as fast as possible. But we are far better off for finishing tools than we were three years ago. Already DaVinci Resolve, our grading system of choice has been updated to support the Epic footage and with Red Rocket cards we have real-time playback and grading from raw images. This is really the best workflow for Red material.”

The Post Factory is a London-based post-production company specialising in Digital Cinema workflows and has supported features such as The Social Network. Its Gear Factory division hires out Digital Cinema camera equipment and has supplied such films such as The Social Network and Pirates of the Caribbean 4.

By David Fox

Steadicam Smoothee steadies iPhone

Steadicam is the company that made possible all those smooth, flowing shots you see in movies or captured by the fittest people in the stadium for most of those cameras used to run the touchline for sports coverage. Now, if you shoot video on an iPhone or other mobile, you can also use Steadicam technology with the new Steadicam Smoothee.

We wrote about it back in February 2010, after seeing a demonstration of the prototype version at BVE (and we shot the video below with and about it, with the help of Robin Thwaites, International Director of Sales, Tiffen/Steadicam). It was expected to arrive a little more quickly than it has, but it is now available in the UK and throughout Europe (prices seem to range from about £130-170).

It will allow you to capture video or still images without the shakes you normally see when you take hand-held video on something as small and light as an iPhone (usually, the smaller and lighter something is the more likely it is to suffer from camera shake).

The Smoothee is pretty small itself (at 20.3x36.8x6.4cm) and is designed initially to be used with the iPhone 3GS, iPhone 4, and Flip Mino HD. More mounts for similar devices are in the pipeline.

You can instantly swap the camera mounts between the Smoothee and any tripod thanks to its patented quick-release removable mount, which can also double as a tabletop stand.

Steadicam Smoothee rig for the iPhone from UrbanFox.TV on Vimeo.

By David Fox

Electric dolly for fume-free filming

The new Flyka Electric Dolly is the first product from a new company, and was developed by photographer and cameraman Tony Holker, who broke his leg in 2008 and used a disabled buggy for filming.

"The smooth ride from a disabled buggy was a great platform to film from. I researched and researched to see what else was out there, but there seemed to be nothing, so I set about developing a prototype. Five prototypes later, I now have number 4 and 5 developed into working, conceptual vehicles for filming and the reaction from the industry has been superb," explained Holker.

The Flyka should save many hours by making it simpler to set up shots, while no time will be wasted laying track. Users will also be able to record sound during filming, despite using a motorised Dolly. Hire costs are £500 per day (£200 for the first day new clients) or £1800 per week, and future models are now being developed, including lighter vehicles, jib cranes, all terrain capabilities, and remote control.

Other benefits include: being able to do forward or backwards tracking shots without track coming into shot; doing long shots without having to grips getting tired pushing a dolly back and forth; no down time needed while a Steadicam operator recovers; the ability to create very slow moving Steadicam shots without footstep jerks; variable speed and constant speed from 0 to 8mph; easier use of handheld shots for long distance; and step-off capabilities with a Steadicam. 

It is being launched at BVE 2011, next week (15-17 February) in London.

By David Fox

Scout, Phantom + Zephyr blow in

Three new Steadicam rigs will be making their public UK debuts at BVE 2011 (on the Tiffen stand). The lightweight Zephyr, the Scout and the Phantom.

The Zephyr (pictured) supports camera loads of up to 11kg and offers "unique control over the feel of the rig with features usually only found on high-end models." These include a new tool-free gimbal, HD ready out of the box, fully adjustable lower sled for inertial and dynamic balance, side loading stage and a tool-free Iso-Elastic arm, requiring only ounces of force to support the unit throughout its huge boom range.

The Scout offers a precise and versatile lightweight system in an affordable package. Supporting up to 8kg, it has the same side loading stage as the Zephyr, a new base design for adjusting dynamic and inertial balance and the same tool-free performance from its Iso-Elastic arm.

The Phantom is a low cost big rig that performs just like the top-of-the-range Ultra2. Working with loads up to 20kg it includes two posts, the Ultra2 tilt stage, an inertially-adjustable sled, G-70 arm and a SD monitor, upgradeable to a high definition monitor, and a motorised stage.

Also showing are the Tango, which delivers long-sought floor to ceiling boom range with lateral reach and Steadicam stabilisation, and the Smoothee that steadies iPhones and other smartphone videos.

By David Fox

Aerial Camera Systems workshop

The Guild of Television Cameramen will be holding a workshop at Aerial Camera Systems in Surrey on January 11, where ACS will demonstrate its SMARTheads (pictured), rail and vehicle-mounted Cineflex and Gyron stabilised heads, and vertical tracking kit.

Numbers will be limited but it is hoped to provide the Guild’s first webcast from a workshop for the benefit of members at large. This will be a specialist workshop, so only open to GTC members with a practical knowledge of outside broadcast and studio work.

Steadicam Pilot and Scout workshop

Steadicam is running a Pilot and Scout workshop at Prokit in West London on Thursday 4th November.

It will give an introduction to the correct way to use a Steadicam, showing how to set up the systems to the best effect and safely. It will cover all the basics, including: balancing the units, operating techniques, using the telescopic post and low mode.

The award-winning Steadicam system, invented by Garrett Brown, is the classic way to achieve smooth motion without the need for a dolly or crane.

The Steadicam Pilot is designed for cameras weighing up to 4.5kg, while the Scout carries up to 8kg and is Steadicam's latest stabilisation rig (costing $6,995). It features: a newly designed sled that works with 12-volt cameras; a robust carbon fibre extendable post; a proprietary friction-free gimbal assembly; a comfortable, ergonomic vest; and a new 7-inch LCD monitor usable in bright sunlight.

The instructor will be James Elias (pictured above demonstrating the Scout at IBC) from Tiffen International who has many years of experience with the Steadicam systems.

It will start at 10am, and finish by about 4pm. Phone 020 8995 4664 or book online.

Cam Caddie carries compact cameras

Schneider Optics has become the exclusive worldwide distributor for the new Cam Caddie stabilizing handle and accessory holder.

It is designed to work with virtually any lightweight HD DSLR camera or camcorder, to provide a comfortable, solid camera platform that dampens movement while shooting.

Optional add ons include an Accessory Shoe for lights, flash units, microphones and monitors. The Accessory Wing and Tripod Adapter works with the Accessory Shoe to mount multiple accessories. There’s also a 1/4-20 Flash Shoe Adapter to attach multiple accessories to any flash shoe, hot or cold mount

The Cam Caddie Scorpion costs from $59.95. A kit including the Cam Caddie and three accessories costs $109.95.

By David Fox

Neutron 3D rig goes Naval gazing

One of the first productions to use Element Technica's new, lightweight Neutron 3D rig has been a US Navy promo showing the technology behind a recent mission launch that brought down a crippled satellite.

“The director wanted to re-create this event with two cameras in 3D mode with a system that was lightweight, flexible and could do both tight and wide shots in real locations like a war room at a restricted Navy base,” explained cinematographer Steven Douglas Smith (pictured). He specified two SI-2K cameras, Fujinon lenses, and view/playback on CineDeck. "The Neutron was simply the best set-up for the job.”

Smith had to get shots moving through corridors and around the electronics in a small missile ship as well as sequences within a naval war room. “We chose the Neutron because of its ability to act as a lightweight support device for these two HD cameras that we could fly on a Steadicam. Because 3D doesn’t like jittery handheld movements, the Neutron allowed us to move the camera in small spaces and still have it be effective in the 3D environment. Also, the Neutron has the ability to do swap over and change configuration from beamsplitter to two cameras side-by-side for long lens work. We wouldn’t have to use two separate devices," he said.

“One of the things that I really like about the Neutron is the high-grade mirror they use. It doesn’t cause abnormalities in the image that you get with many lower grade units. The Neutron configuration is also extremely steady and rock-solid when in the 3D environment, and still extremely lightweight," he added.

“We had to move quickly, had limited time in our restricted environment, and a lot of footage to capture. The Neutron performed extremely well, allowing us to capture the necessary material without reshoots or resets.”

Related post: ET's Neutron star shines for 3D

By David Fox

Ryder Cup coverage to a tee

Cablecam guys: Bush and Bradley with the Skytrac HD

When the Ryder Cup players walk from the clubhouse to the first tee as Europe take on America this weekend, they will be followed by a new, custom-designed cablecam system from Bradley Engineering.

The Skytrac HD has been built for Remote Solutions, whose owner, Stuart Bush, had been searching for a suitable cablecam system for years. He bought one, but it didn't work properly and he couldn't find a suitable replacement. "I couldn't buy anything that was fit for purpose," he explained. So, he went to Bradley with the problem. Then, when he won the contract for Sky Sport's Ryder Cup coverage, development had to be pushed ahead faster.

Bush is having three of the £235,000 systems built (two are still being completed), but he intends to sell one on and had several people wanting to buy it at IBC.

Skytrac HD in postion at Celtic Manor for the Ryder Cup coverage

The sleek, "racing car" design looks good in shot, which in the Ryder Cup case is an almost 200m run. "All the others just look functional. This looks nice. It's also waterproof as all the electronics are inside. It's designed for its purpose. It's incredibly strong," he said.

"It is a dual-cable system, which makes it inherently safe for flying over crowds," added its maker, David Bradley. The wheels are bonded to the body and can't come off the cables. The coated Kevlar cables are "incredibly smooth and silent," said Bush, and even if both did break, the 4mm drive cable is even stronger (with a breaking strain of several tonnes). The system weighs only 30kg, although at Celtic Manor the tension wires are tied to a three-ton concrete block at one end – the driver motor is at the other end.

The Skytrac is very good on power. There are two V-lock batteries, which give at least two hours use – it could be three or four hours, but they are changing them every two hours just in case. The driver motor can also be battery powered (48v) if mains isn't available.

It is fitted with Bradley's new Gyro 350 five-axis stabilised gimbal (Bush is only its second buyer – the other, Flycam, Australia, is using it for a similar system). "It had to be a gyro stabilised camera, and there's nothing else light enough that could be used, or nothing as good value," said Bush.

It houses a Panasonic AS-HE870 HD camera with Canon 20x lens. "The camera was the only one at the time with HD component output, and it only cost €10,000, and the lens is short, making the most of the physical space available. And the whole package is easily remotable," added Bradley. For the golf coverage a Link 1500 transmitter, supplied by Broadcast RF, has been installed. The aerials, and a microphone, are the only things on the outside.

By David Fox

Put a Glide in your hand-held shots

Glidecam has re-engineered its HD-Series of hand-held camera stabilizers to offer "advanced features and a degree of sophistication never before seen" with this type of stabilizer.

There are three lightweight models: the HD-1000, HD-2000 and HD-4000. Each has an offset, foam-cushioned handle grip that is attached to a free-floating, three-axis gimbal. This allows your hand to move up and down, and side-to-side, without affecting the camera. This up and down movement alleviates the bouncing, pogo type action seen on systems where the handle cannot move up and down. Coupled with the overall higher inertia of the HD-Series, this is claimed to produce "superior stabilization" when compared with its competition.

By varying the amount of counter weights on the base platform, or by changing the length of the no-tools telescoping central post, users can adjust the camera's vertical balance, allowing the camera to float.

The proprietary Dynamic Base Platform can expand or contract, to allow users to easily adjust the system's dynamic balance or to increase or decrease its rotational pan inertia.

The $399 HD-1000 extends from 30cm to 40cm, weighs less than 1kg (without counter weight plates), and can carry cameras up to 1.4kg. The $499 HD-2000 extends from 37.5-55cm, weighs just over 1kg (plus counter weights), and can carry compact, low profile cameras weighing from 900g to 2.7kg. The $599 HD-4000 extends from 50-70cm, weighs about 1.5kg, and can carry compact, and full size cameras weighing from 1.8kg to 4.5kg.

By David Fox

Sachtler enhances Cine/DSLR support

Sachtler has announced two new artemis camera stabilisation systems for high-end digital cinematography and HD DSLR users.

The Cine HD Pro will replace both artemis systems, the Cine and Cine HD, in September, with a modular concept based on its EFP HD Special Edition.

The artemis Cine HD Pro will have Dual Video Processing so that HD-SDI and SD video signals can be used simultaneously. It also gains Hot-Swap Technology that will allow battery changes to be made without needing to shut down the camera, monitor and radio channels. Its new, HiCap wiring means it can provide more than 200 Watts for the camera and other equipment. The HiCap wiring keeps the power loss extremely low (due to minimal voltage drop) and, with the Hot-Swap technology, allows for a longer battery operating time. Depending on the type of battery used, operating time can be doubled.

The system also uses a new 4.5cm carbon post with redesigned no-tool clamping and a new twist-proof inner tube with a diameter of 3.75cm. Therefore, monitor brackets and existing accessories based on 3.75cm diameter connections can be used on the new post. To match the post a new gimbal offers high precision, a new handgrip, new yoke, more control and nicer handling. Previous artemis systems can also be upgraded with the ACT2 4.5cm post and the gimbal.

artemis DV

For HD DSLR users, Sachtler has the artemis DV. It costs 500 Euros, weighs 1kg and can also support HDV or other compact camcorders. It is carried with one hand, and the handgrip, monitor mount and counter weights can be individually positioned. The artemis bow uses “dynamic balance” technology for fine counterbalance adjustment. Its camera plate is compatible with Sachtler FSB fluid heads for a fast swap over from the tripod to artemis DV.

By David Fox

ET's Neutron star shines for 3D

Element Technica has launched a compact new 3D rig that would be ideal for Steadicam use or in confined spaces.

The Neutron 3D rig is designed for use with lightweight camera heads, such as the SI-2K Mini (pictured handheld above) or the Iconix and has already won almost 50 orders, worldwide. "Applications range from broadcast with hand held to Steadicam set ups for cinema," said Joey Romero, director of sales and marketing.

The unit measures about 30x21x17cm and should weigh about 6.8kg. Its interocular distance will range from about 0-9cm in beam-splitter mode (pictured right) and 9-18cm in side-by side. Prices start at $49,000, which includes the motors and Technica Hand Controller. Deliveries should start late June 2010.

Users will be able to assemble and align each rig in less than 30 minutes, and convert between side-by-side and beam-splitter mode (both over/thru and under/thru modes) in less than 10 minutes.

A pre-production model has been used for a Playboy production, pick up shots on The Mortician 3D (movie) and is currently flying on a Steadicam on an aircraft carrier for the US Navy.

Element Technica also developed a slightly smaller beam-splitter rig, Dark Country, limited to the SI-2K Mini, but that was not for sale. "It's only in use for those that have a Quasar, but need an interim solution for hand held," explained Romero.

Between the Neutron and the larger Quasar 3D rig will be a mid-size model (for such cameras as Sony's EX3), the Pulsar, which should start shipping in July.

The Neutron and the Pulsar share the same alignment module, but the motion module on the Pulsar will be widened by 2.5cm to allow for greater interocular distances with larger cameras

"The alignment module on the Neutron and Pulsar share the same familiar alignment process [as the Quasar]. A three stage gimbal that separates Z-height, pitch and roll. Each having no effect on the other as changes are made. The motion module will operate the same way as the Quasar does, but using a similar yet scaled down version. All systems will be fully motorized and all will use our THC," he said.

Other differences between the Neutron and Pulsar are the size of the dovetail (the Neutron uses ET's Micron standard - a scaled down version of the Arri standard -  whereas the Pulsar will use the Arri standard), the size of the bridge plate, the size of the mirror box (to accommodate larger cinema lenses) and additional structure plates for the Pulsar in order to accommodate heavier camera/lens packages.

Element Technica is also developing an underwater housing is for the Neutron (it already makes one for a single Red One camera).

It has now delivered some 60 of its Quasar models, with a further 18 rigs going to the World Cup.

By David Fox

Easy Steady counts on One, Too, Free

Italian camera support manufacturer, Easy Steady, has appointed IDX as its distributor in the UK and Ireland for its stabilisation systems,
It offers three systems for DSLR, video and broadcast cameras as part of its new Lite & Go range: the One, Too and Free (pictured), catering for cameras ranging up to 4.5kg or up to 8.5kg in weight. 

The Lite & Go kits come equipped with a lightweight body vest made from Cordura. The aluminium chest plate, connecting the arm to the vest, can be configured for right or left handed use. 

The aluminium alloy stabilisation arm uses light or heavy tension springs depending on the weight of the camera. The spring sets are easily changed, while more precise tension adjustments can be made using an Allen key.     

The telescopic centre post on the Lite & Go sled rises from 65cm to 135cm. The sled has a friction-free gimbal and comes with a 7-inch LCD monitor, with a single V-Mount battery plate for sled One or a double V-Mount plate for sled Too and Free.

All three kits come in a wheeled case with a C-Stand for docking and balancing the sled when loaded with camera and accessories. Easy Steady accessories include: a tripod adaptor; D-Bracket for low mode shooting; carbon fibre low mode cage; precision balancing donut weights; and camera plates with 15mm rods for attaching third party accessories.

Easy Steady's prices range from Euros3,995 to Euros6,995 for the Lite & Go range. It is also developing a Pro Series that will carry up to 32kg.

By David Fox

Cine lenses for HD DSLRs

Carl Zeiss is creating a set of prime (from 18mm to 85mm) and zoom lenses for HD DSLR cameras.

Its upcoming Compact Prime CP.2 and Lightweight Zoom LWZ.2 lenses will have interchangeable mounts that can be used with Canon EF, Nikon F, and PL-mount cameras.

The primes can be used on full frame cameras (like the Canon 5D Mark II), and will all open to T2.1 (although in the press photograph of the lenses, the 85mm is shown as a T1.5). However, the 15.5-45mm/T2.6 zoom lens can only be used with crop sensors (such as on the Canon EOS 7D – up to 24.9x18.7mm, a Super 35mm film frame). The zoom will weigh about 2kg, which makes it useful for Steadicam applications. Thanks to the interchangeable mounts, the lenses should be very attractive to hire companies, as they will cover a wide range of traditional cine cameras and HD DSLRs.

Prices are likely to be at least as much as many of the cameras they are fitted to, and they should be available from June.

Being designed for moviemaking, they will be a lot easier to use than stills lenses, especially for focusing, with longer focus rotation (making it a lot easier to be precise – particularly for manual use).

The iris opening in the prime lenses uses 14 high-precision blades, which stay consistently round and symmetrical over the entire T-stop range. This should translate into natural and pleasing out-of-focus highlights and a smooth bokeh (the ring around the blurred highlights). The lens design and tight tolerances are claimed to "ensure low distortion, high resolution and excellent colour rendition for sharp, punchy images."

By David Fox

Steadicam Smoothee rig for iPhone

The smaller and lighter a camera is, the more likely it is to shake when you go hand-held.

Many cameras have built in image stabilisation systems, but some of the smallest and lightest don't, such as Apple's iPhone.

However, there's an app for that, or there soon will be. The Steadicam Smoothee, from Tiffen, is the smallest of the famed Steadicam camera stabilisers.

You simply clip your iPhone 3GS into a holder, fit it to a small carrying system, and you can do smooth looking camera moves, with no shakes.

It will also be available for the Flip HD, and probably for other small cameras in the future. As demonstrated by Robin Thwaites (International Director of Sales, Tiffen/Steadicam), it is quick and easy to set up, and to move. Its iPhone mount can also be used as a table-top stand or mounted on a tripod.

There's no price yet (it'll probably be in the £100+ range), or release date, but probably later this year.