Shot with the GP-Cam and BBrig on the streets of Los Angeles
More Lexus 2013
Shot with a combination of portablemotioncontrol and General Lift equipment.
DIY-SOS did this their largest ever job at a youth centre in Liverpool. Refitting the rig in the exact same position was surprisingly easy and the Lapse-Time shots were very effective.
3Ality 3d Rig
Arri Media very nicely let me have a look at how my rig would perform with a a full size 3ality 3d rig with two alexas on it. It worked very well and there is no reason why the rig should not be used with the 3ality rig. It is possible by using the Preston Kuper interface to set the IO and Convergence and FIZ from kuper. However that's a massive investment and would need a job that would justify it. So for now the FIZ and IO have to be locked off.
Alexa Sync 2
The perils of being an early adopter. Arri changed their shutter sync for 3d to a Can bus system. So I built a second little box to change the sync output from the RS socket to the "Old School" 9 pin Fisher Socket fitted to the 435 (and others) the red light flashes when there is a sync pulse availiable. The Alexa will only give out a sync pulse when the camera is running with a card installed.
Chris Cairns wanted to shoot some timelapse at the Warehouse Project in Manchester. He wanted to track back from the front door and origionally we had lots of ideas that revolved around making a little winch to pull a truck along a couple of lengths of speedrail. In the end we decided to build a full moco rig. It can go up to 20ft in length and at 50 cm/s and it fits into a small box. In these photos it's fixed to the bottom of a piece of ducting and the camera is locked off, However all sorts of mounting's are possible as is a small stepper driven head. it will work with a DSLR or Arri 235 easily. We think it's possible to have an unsupported span of 10 ft (3m) to travel the camera through windows or accross between buildings etc .. This rig can also do a 20ft lift if required. I'd love to do some lapse-time with this rig.
The opening shot of the party was created withthe KT .. to double the size of the room.
You can play "Spot the fat Moco op" on the behind the scenes footage
40 years of The Sun Page 3
When Glueisobar wanted to shoot a spoof of the "Your man could smell like me" Old spice commercial they decided to use moco to help them get the effect they were after. Originally we rehearsed with the bathroom in place and then shot the bathroom as a separate plate and by shooting a number of dropping passes with the slider recreated the perfect rising movement (Geek Note:- In the original the shower water is put in as a post element in our it's real)(geek note two if we did this again we would use the Cairns rig). Rosie defied all stereotypes by being word perfect on the first take, in fact the most difficult things to organise were the decks to put Rosie into position and the coconuts, one or other of which would not open neatly .. the beach ball was triggered by the Kuper rig. This was shot with the Alexa and Optimo 24-290 and the slider driving as a lift. The part in the centre where the lens zoomed in to 140mm had to be stabilised (if we had not used the lift then we could have "Got Away" without stabilisation). The palm trees are real but a separate pass .. (originally there was green screen for the passes with Rosie then we had a quick repaint!).
ARRI ALEXA shutter sync
One of the CAN bus outputs on the EXT socket on the Alexa can be programmed to give out a slightly non standard frame pulse. John Duclos and I have built this box that converts the Alexa output into TTL output the same as the Arri Grey Cameras.
This film was all about the new interior for the 2011 Range Rover. What was wanted was to use motion control to preset the moves and then send the car off with a driver and use a low loader as little as possible ..
In order to pull this off we had to prepare the car .. Hayward Engineering Machined these plates to replace the seats so we could mount the Motion control slider .. Owen Trevor came down and we tried various setups and shots. In the end we built a "mini arm" that would move the camera in an XY move across the passenger side. The video here shows the picture taken and the movement of the rig ..
Most of the film was shot with a regular slider and head, combined with the plate mounting this made a very strong and stable mount .. this is a test film made of two passes of the same move .. One was shot while the car was stationary and the other was shot while the car wasa being driven "Spiritedly" on country roads in the UK.
as you can see the only time there was any missalignment of the pictures was when the camera sees the stiching of the seat .. Obviously in one pass it was empty and the other pass there was a fat moco operator in it ..
I drove out to Kiev to do this job with PSB films ..
I now have a Fries mitchell with a Jackson Woodburn Motor. It's a Nikon Mounted. 0-120 FPS with timelapse .. full video assist ..
I used the KT Rig for a scene with the "The Dream Lord" on the "Amy's Choice" episode of the recent series of Doctor Who. BBC wales were using the Sony F35 for this production. It is posible to sync from the HD output on a digital camera, but as cameras have become more advanced the relationship between the phase of the shutter and the phase of the HD output has become much more hit and miss. The F35 sends out a 1V P-P pulse once every frame and I have built an interface that takes that output and translates it to a 5V TTL pulse and then sends the output to an 11pin fisher socket (so the output is compatible with an Arri III sync cable) and the camera is treated as a film camera for Phase purposes.
We shot some of the girls dress with the GP camera and the packshot was shot with the slider from the KT rig and the Flake was rotated and lifted with motion control. The pack and the moco rig were all built into the same tubing frame, origionally the pack started from a closeup of the end of the flake filling the frame from left to right and then pulling back to reveal the full chocolate bar.
Top Gear In car Moco
Top gear rather liked the idea of doing something slightly different to the usual fixed minicams. I rigged the slider into the passenger seat of my "testing" Peugeot and did a test. The rig was then installed in an Aston Martin Vantage V12, All the kit was mounted inside the car .. pre programmed by myself and Nigel Simpkiss, then triggered by Jeremy Clarkson pressing a switch to start a ten minete long move.
Top Gear out of car Moco
Another outing with Top Gear .. Very simple car replications .. Top gear is a very fast shooting show and the moco added no time to the shoot.
Extra Long Belt and High Speed Dolly Motor
The client on this job wanted to track at 2 1/2 M/s with the Photron camera on the head. 2 1/2 M/S was just possible by removing all unnessesary weight and fitting a different motor with a larger gear. A longer belt was required as althoguh the dolly could get to speed in two metres it took four metres to slow down .. I now have a 100ft (30 Metre) belt
Masterprime Reversing Rig
Because of their weight it's very difficult to reverse masterprimes .. imagine all the weight of that lens on a single clamp on ring reversing to a PL mount. (and the embaressment should it fall off). I have (with Hayward engineering) built a reversing rig for masterprimes ..
The rig holds the camera by it's 19mm baseplate so it can be used with a number of different cameras and keep the lens centred. I have also set it up with a Nikon digital still camera for testing purposes.
Here is the setup and the results of a test made with a 35mm masterprime and then shot on a nikon digital still camera, the subject was a 25mm high plastic figure of a world war one soldier. The pictures are from a mobile phone or from my "Testing camera" They all link to a full res image.
This soldier was photographed at a significant distance from the lens to allow for lighting.
These are the two pictures .. one at T1.3 and another at T22
The focus is obtained by moving the camera back and forward on the slider. And can be preset or motion controlled ..
Commonwealth War Graves Commision.
The Commonwealth War Graves Commission is building what will probably be the last First world war cemetery at Fromelle in Northern France they asked Daniel Alexander to take some photographs of the construction and also to make a timelapse of the construction.
Daniel asked me to help him build a camera system to shoot this.
I built the box with a computer to control the camera (Canon 50d) and I wrote some software to control the camera and to blow off rain, wash the glass and heat the glass (although the heat of the computer running keeps the glass clear) and to vent the box if it gets too hot .. Everything is powered via a UPS that will run the camera for a whole week. Although the computer is internet connected via the mobile network, due to the ammount of data involved the images are downloaded to hard disks and removed manually ..
When shooting with the 435 we use a marker light pointing into the viewfinder. This saves all the hassle of removing a light from the frame before each shot .. I built a mod for the GP camera to do the same thing.
this job, especially working with Gaute and Anders.
We shot the backgrounds first around Istambul at 1 fps
to make it easier to remove the traffic. Then we shot the
fingerboards in a studio with a scaled set.
For me the notable
shots were ..
In the first shot we
removed the drivers seat and the back seat from a small car and
mounted the slider fore-aft .. we then shot the same move with the
For the “Car park”
shot we under-slung a Ronford seven (as we did not need pan and tilt
on that shot).
For the track into the
bus. The slider was underslung rigged out from the dolly so in
theory we could have tracked left to right on that shot as the
skateboard weaved towards the bus. In fact we shot it as a straight
track in .. There was lots of talk beforehand about how we could
shoot the fingerboard for this shot in the studio .. The problem was
that the camera was so low in the original shot that if we had tried
to track that low in the studio we would have been under the floor
with the camera. We built a small motion control conveyor
belt, we loaded the conveyor with green paper from a colourama roll
and then scaled the track axis from the original shot to the conveyor
belt .. although it took a day to build and test the conveyor belt,
the actual shot took about a ¼ of an hour from start to finish in
the studio ..