For the past few years camera sliders of all shapes and sizes have been ever present on just about every type of production, add that little touch of movement that can make a good shot into a great one.
In the past year we’ve seen a proliferation of announcements for new gimbal style camera stabilizers that promise to offer dynamic beyond Steadicam™ style movement with far less complexity. The Freefly MoVI was the first to make a big splash with its introduction by Vincent Laforet just prior to NAB 2013. Since then we’ve seen a tons of competing products all over the internet tubes.
So here’s my question. Who out there sees one of these devices in your future? On what type of productions will be you be deploying your new gimbaled camera flyer? (please add you comment below)
If you’re new to the Gimbal Stabilizers, I’ve attached a few videos to get you aquatinted.
A behind-the-scenes look at the making of the intro to the new Burton Snowboards video series, coming this fall. Filmed on the RED Epic using the Freefly Systems M?VI, this film gives you a closer look at how the M?VI is changing the way people are making films. Freefly Systems
We wanted to share a bit more test footage from the DEFY G2, this footage is from some testing we did last week, as we put the gimbal in the hands of a few members of the Relentless, Inc. team. We have many more excerpts to show, but this should shed some light on what this mighty stabilizer is able to do. Remember this model, DEFY G2 opens for pre orders on July 9th. G5 for DSLR cameras will become available shortly after, as well as G10 for cameras like RED Epic and other beloved large cameras. For more info visit: defygimbal.com.
The EasyGimbal is a 3-axis handheld camera stabilizer designed for the GoPro 3. Get smooth moving shots without a sweat. Kickstarter – EasyGimbal
VariZoom FlowCam – 3-axis Digital Gimbal Stabilizer for movie making
100mm lens tests with the BeSteady One and Canon 5D Mark II. Filmed in challenging environments to see how it would really perform in difficult scenarios.
The BeSteady One can stabilise camera rigs up to 2kg using our ultra rigid frame and high performance, custom electronics. www.BeSteady.pro
Here is the first demo of our new 3-axis handheld steadycam. It can handle cameras of up to around 1.5kg. It is light weight, easy to operate and silent. rotorview.se
Every once in a while, a product comes along that truly revolutionizes the industry. Nexto DI accomplished this a few years ago with the NVS 2500. It’s a simple little “black box” that is a “digital intermediate” for your footage. The premise is simple: If you shoot on any kind of media (Sony SxS, Panasonic P2, SDHC (Hoodman & Others), Compact Flash, etc. sooner or later, you’re going to need to “clear” those cards to keep shooting in the field. Often this means carrying a laptop, hard drives and other things into the field. Nexto DIeliminated the need for all of those devices. In the process they all but eliminated the need for “data wranglers” on small to medium projects too!
Not one to rest on their laurels, Nexto take it to the next level, and again revolutionize the way we work with media in the field. This time with the Nexto Air NVS 8525. Barry Morrill shares all the ins and outs with Curt Pair and Band Pro on this terrific product.
The good folks at MacBreak @macbreaksf have posted a great overview of the latest improvements to FCPX 10.0.6 for working with RED Raw files natively . Its prety impressive what you can do on a laptop, without a a RED Rocket. Check it out.
@CrumplePop teams with Red Giant (@RedGiantNews) to offer Carousel, a powerful new FCP X plugin that creates 10 vintage camera effects. This plug in was built from the ground up to work natively in FCP X. That means the ease of drag and drop implementation, with render free preview and wide variety of controls to tweak the looks to just how you like them.
Well, I can’t say I saw this one coming. Blackmagic Designs, who are know for their elegantly designed I/O, conversion and recorder products, have staked out their position in the Digital Cinema War. Simply named, Blackmagic Cinema Camera, this new 2.4k DSLR sized image maker boasts some pretty nice features:
2592 x 2192 Resosution
12-bit RAW files recorded at 2432 x 1366
2.5K RAW at 2432 x 1366, compressed at 1920 x 1080
Frame Rates 23.98p, 24p, 25p, 29.97p, 30p (What? No 60p)
16.64 mm x 14.04 mm sensor (4/3″)
Dynamic Range 13 stops
RAW 2.5K CinemaDNG
Apple ProRes and Avid DNxHD
Built in SSD Recorder
Lens Mount EF and ZF mount compatible with electronic iris control
5″ – 800 x 480 resolution touchscreen LCD
Integrated mono microphone
Integrated Lithium-ion Polymer rechargeable battery. (90min run time)
12V-30V DC port for external power.
Weight 1.7 kg / 3.75 lb
I hope you didn’t miss that lens mount feature. If I’m reading that right, you can attach either Canon or Nikon electronic lenses and control them via that camera, without the need for expensive third party adaptors that seem to have a hard time coming to market. That’s killer.
If all that’s not enough, the $3000 price tag includes a full version of DaVinci Resolve. This gives your one of the most power grading tools on the market, to insure you’re able to deliver the best images possible. The camera can be connected to any ThunderBolt enabled computer for monitoring the image a scopes live on set.
Storing useful metadata is the easiest I’ve seen on any camera.
“Blackmagic Cinema Camera is the first camera to feature built-in metadata entry so your files include information compatible with popular editing software. This dramatically speeds up the whole post production process! Entering metadata is easy. Simply tap the capacitive LCD touchscreen to display the slate where you can enter information such as shot number, search tags, scene number, timecode and more! You can even set shot number and other data to increment automatically!” —Blackmagic web site.
One concern I have with this camera is with the sensor size. It’s essentially a 4/3″ sensor in a world obsessed with Super35. The Af100 has suffered from this lack of endowment. I wonder if the BCC with suffer the same fate? I guess you might say, it makes up for any shortcoming in sensor size with 2.5k RAW image capture.
I’m really eager to see some images from the camera, but I may not be able to wait to place my order.
Remember that big FCP SuperMeet at NAB 2011 that announced FCP X and everyone went wild in anticipation. Then the app finally dropped for an unheard of price of $300. It seemed for a minute that FCP X was set to flip the NLE industry on its head, but just a minute later it became quite clear that this was not the post tool that most pro editors could depend on, despite some truly amazing new features.
Yesterday, Apple released an update to FCP X that makes some strides toward wooing back the pros who jumped ship, in a big way, for Avid and Premiere. The latest update delivers a 64 camera multicam feature, a very advance chroma key feature, and finally XML and the ability to work with directly with 3rd party plugins, app, and peripherals from the likes of AJA, Blackmagic and Matrox. Many will be happy to know the Magic Bullet Look is working natively.
I think the best FCP X feature that may give Apple a chance at regaining some of those defected Editors is it’s price. At just $300, it pretty easy for most pros to keep a copy of the app on their system, alongside whatever they’re working with today. As new features are added, you can easily give them a test drive. It may be a pretty tough sell to get switchers to switch back, but I still have very high hopes for the future of FCP X.