July 16, 2014

The Concept of Ease in Filmmaking

Filed under: Homegrown, Inside Rule, Intern Perspective, New Gear, Tried & True — rbcblog @ 3:19 pm

In the place I am now, having recently graduated, looking/hoping/begging for work, and getting this internship and blog to learn from and play with, I feel privileged and prepared to go ahead and share a very quick reflection on a concept that I, and I’m sure countless others, have faithfully explored, willingly embraced, and so readily attempted to reject: ease. What follows are just some thoughts and ruminations, from an RBC intern, on the concept of ease in filmmaking.

As I think and I ruminate, I am inspired by one of the coolest pieces of equipment I’ve been introduced to at Rule, the Kessler CineDrive: an amazing genius robot helper for all your pans, tilts, slides and more. Coming from a class of filmmakers rightfully obsessed with finding unique, professional, and visually stunning ways to capture the simplest and most complex of modern moments, the possibilities here, the ease with which we can achieve them, and the overall potential that the CineDrive represents are enormous!

I’ve also been inspired by another one of the coolest pieces of equipment I’ve been presented with at Rule, the Arri 416 HS Plus 16mm film camera. It’s beautiful. I’ve gotten to experiment with 16mm film just one other very brief time in my life, and because of cameras like this, it sucks to think that the slowly dying “film” in “film school” could soon breathe it’s last breath. I’m very thankful that there are places that still have the resources to teach about film and encourage it to be used.  I don’t mean to say that shooting on film is at the other end of a spectrum, or that it’s necessarily hard, but it is kind of painstaking!  It’s also really different from what I and my generation has gotten used to.

On shoots that I’ve been on and helped with, I always find myself wishing things could be a little easier, move faster, or become magically convenient. Hopefully, I’m not alone in this, but then I look at the crazy cardboard/tape/black wrap/diffusion thing in front of me and realize that ease is awesome, but so is hard work. The experience that has made me seriously crave the endless touch-ups and touchiest set-ups of each and every film set has been this internship. Knowing and learning about the tools to achieve ease, perfection — or dare I say both — has proven invaluable, making me that much more passionate about making movies. It’s also been really wonderful to be exposed to an evolution of filmmaking though RBC, because when I’m around people whose job it is to know the ins and outs of decades of equipment, it becomes fascinating to compare a modern marvel like the CineDrive, if it could be representative of the ease a filmmaker might, deep down, die for, to something like a 16mm film camera, if it could be representative of the perpetual fragility and exhaustion of filmmaking, as well as the amazing reward that results.

Cat Haag, Summer 2014 Intern, intern@rule.com


Dotted Line

July 11, 2014

The Kessler CineDrive: A Robot with A Mind of Its Own?

Filed under: Learning Lab Series, New Gear, Technology, What's New — rbcblog @ 10:57 am

Actually it’s a little more complicated than that. The CineDrive is a multi-axis motion control system that lets you pan, tilt, slide, zoom and even focus your camera. This piece of gear brings a whole new meaning to the word MOTION for your film or project.

With one look at the CineDrive, the first thing that will come to mind is “WOW, with so many moving parts and connections, I’ll never be able to learn all this”.  Actually, the CineDrive is only as complicated as you make it — from a simple sliding and panning motion to a whole 6-hour time lapse that includes the zoom function — it’s really all about the type of shot you hope to achieve.

With shot options including live-action, time-lapse and stop-motion, any of these settings will help your project come to life via motion.  How?  The CineDrive runs off software called kOS which can be controlled through an IPAD, PC or MAC.  This software communicates with the CineDrive’s main system called “The Brain”.  The Brain produces its own WIFI just like the GoPro.  You can connect the IPAD app wirelessly to the system, or if you don’t have WIFI, the Brain has an Ethernet port for a direct connection from your laptop.

In order for the motor to work, the Brain is connected to motor control boxes (MCB), with each box designated with a different function including zoom, focus or slide. The pan/tilt functions are part of the main system so there are no extra boxes for pan/tilt. It also comes with a couple of different motors — one for the slide, one for the zoom function (for your lens), and another for focus. With all these options, there are endless possibilities for creating various shot movements.

When first testing the CineDrive with the IPAD app, I found out it does not work well with the first generation IPADs, so you’ll want to make sure your IPAD or operating system is up-to-date.  The kOS app is frequently updated because it’s still considered pretty new.

The weight limit is around 15 pounds! That’s actually a lot if you think about it since you won’t need a monitor on the camera with the CineDrive staying in one spot. For one of my tests with the CineDrive, I used the TS3Cine high-speed camera, and the ports were a little difficult to attach a monitor while also getting the SD card in and out.

When people see the CineDrive they also think they need a slider, but (good news!), the CineDrive comes with a 100mm bowl mount that fits on tripod legs e.g., the Video 18 or Video 20.

When using the CineDrive with a camera like the 5D Mark III or 7D, you can create a time-lapse with photos in the kOS software, giving you the ability to set the number of photos you want to take within a certain amount of time. For example, say you want to take 1000 photos in 2 hours with a set frame rate.  All you need is a simple cable connection to make it happen!

The Kessler CineDrive is great for filmmakers who enjoy the more technical aspect of shooting.  While a good amount of preparation goes into the set-up, you have a good number of options and flexibility.   RSVP: events@rule.com for my upcoming Learning Lab with the CineDrive on Wednesday, July 23rd from 10am-12n.  If you can’t make it in person, you can watch it later on our vimeo channel at https://vimeo.com/channels/rulelearninglabseries.

–Scott Pierce, QC, pierce@rule.com


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June 19, 2014

The Quest for Knowledge (aka Summer Intern Highlights so far)

Filed under: Homegrown, Inside Rule, Intern Perspective — rbcblog @ 2:45 pm

It’s hard to think of something specific I’d like to say about the intern program at Rule. This is because I’ve gotten to do, see, and learn about tons of stuff in the really short time I’ve been here. I’m getting my hands on equipment I would, otherwise, have had to wait ages just to lay a finger on. I’m learning from some really promising and accomplished individuals about the scenes in Boston and New England, and getting to know names and faces. I’m navigating the streets of downtown with kits and cams in the back of the van, on our way to Boston film and videomaking offices I never even knew existed; and when we get there, people are really excited to see us.

While it’s difficult to abstain from geeking out over being in the same vicinity as ARRI Alexa’s, Cooke lenses and all the amazing stuff that goes with them, I think I’ll say one of my favorite things about the internship so far is interacting with the folks who use this stuff, and seeing what everyone’s renting. One guy rented a bunch of lights and when I asked him how everything worked out, he gave me details about his set and his weekend shoot. It made my day!

As an intern, I’m a little sponge – offer even the smallest amount of info or knowledge, and it’ll be well absorbed for future use. It’s one thing to soak in all the theories and reviews and instructional videos, but as a growing gear nerd, it makes all the difference to hold the stuff, figure it out and see how it works.  And as someone anxious to absorb, it’s really cool to invite all the rental drop-offers to tell me how their shoots went. I want to know what they’re doing and how they’re doing it, and I feel really encouraged as an intern to get them to tell me just a little bit about it.

In the shop the other day, I got to learn about a Steadicam Zephyr which was gear-nerd-monumental because it’s a vital piece of equipment to filmmaking (especially now that I’m much more ready to operate my own one day).  And of course it’s just plain cool.

Interns Mike and Cat with QC's Kevin Bueschen

I’m really looking forward to continuing the quest for knowledge, and to sharing more and more stuff that I learn about – the Panasonics, the REDs, the MoVI– you name it. To me, though, every piece of equipment I touch at Rule is awesome and important, from the Sachtler to the Kino to the Steadicam, because eventually it’ll all come together to make something really inspiring for the sponges like me!

Cat Haag, Summer 2014 Intern, intern@rule.com


Dotted Line

May 30, 2014

The Panasonic GH4: An Analysis (Part 1 of 2)

DSLR enthusiasts and 4K adopters alike have all been talking nonstop about the new Panasonic GH4; the tiny camera that can do 4K internally, high speeds up to 96fps, and some very high bit rates. Panasonic has taken the queues from its users who have in the past hacked and modded the GH series cameras to suit their needs. The GH4 does everything they’ve asked for, and Panasonic has come out strong with a very interesting 4K camera – but how does it perform in the real world?

Size
The GH4 is small. Real small. As you can see in the photo above, even with some rigging it maintains a small profile. Compared to the Canon 5D Mark III at around 2lbs, the GH4 squeaks in at a svelte 1.2lbs. The additional YAGH bottom unit will add a bit of heft to the camera, but at the end of the day it is one of the smaller DSLR’s out there. This can be a good or bad thing, all depending on your situation. For me, the flip out screen and small form factor are fantastic for run and gun situations, specifically in crowded areas or in public. It’s small and lightweight, but packs a punch with its recording quality. The small size will lend itself nicely to stabilizers of all types – including the new Movi M5 (available to buy or rent here at Rule!).

Imager and Recording

The GH4 is another camera in a long line of Micro Four Thirds (MFT) size sensors. MFT is an interesting sensor size. Compared to the Full Frame Canon DSLRs, the crop factor can be intimidating (2.1x, thereabouts). Those of us familiar with shooting with the Blackmagic Cinema Cameras won’t be too surprised, but it can be a shock to some. When using S35 glass, like our beautiful Zeiss Super Speeds, the crop shrinks down to a manageable 1.4x – making the field of view on a 50mm look more like the field of view of a 70mm. Something shooters of the C100, C300 and other APS-C canon cameras will be very familiar with.

Aside from the crop, the image produced by the GH4 is impressive. It’s no low-light monster like the Canon 1DC – I don’t find ISO values higher than 1600 usable without heavy noise reduction and post work, compared to the 10,000 ISO on the 1DC that I’ve filmed with comfortably in the past. I find the standard ISO 800 values to be pleasing, but find that the shadows can still present some blocky looking noise artifacts. This can usually be graded out easily, but it’s important to remember that this isn’t a 1DC, and you’re going to have to take care when shooting dim scenes.

The GH4 does not have an official “Log” setting, as the 1DC does – but I find one can get very close when using the Cinelike D profile. I’ve altered my settings slightly to present a slightly more flat and dynamic range friendly profile. By lowering the in camera noise reduction, sharpening, and saturation, I find you can squeeze a bit more information into the recording. I also use the master pedestal setting to raise the blacks up (+15 in camera menu). I find this to be very near to a proper log setting. In DaVinci Resolve, using the Arri Alexa LUTs shows just how close it can be – though you should bump the saturation down a bit more before applying.

Below is a very quick test I did here at the Rule office. Shot in very bright mid-day sunlight, I tried to see how well the camera would capture detail and dynamic range. You can see it holds up well. The camera loves daylight, far more than tungsten. Though the 4K is only recorded at a variable bitrate, maxing at 100Mbps, it seems to handle detail and movement well. It is able to capture the bright blue sky, as well as plenty of shadow detail. It’s not RAW, like the Blackmagic counterparts, but you can record around 80 minutes of 4K video on a 64GB card – compared to the Blackmagic Pocket Camera that can give you around 20-30 minutes of Prores, or 15 or so minutes of RAW 1080p. Puts it all into perspective, doesn’t it?

Click here for “Panasonic GH4: First Tests” on Vimeo.

The GH4 is also capable of outputting a 10bit 4:2:2 signal via HDMI. This disables the internal recording, but allows for very high quality Prores recordings with the Odyssey 7Q. While it can be a bit of a runaround getting from Micro-HDMI to Mini-HDMI, the image quality is striking. The Odyssey 7Q’s monitor is also a miracle when shooting, and a welcomed respite from using the small 3” flip out LCD screen.

The added focus peaking, zebra, and histogram functions also make shooting life easier. The GH4 does internally offer peaking, zebra, and histogram – but none perform quite as nicely as that of the 7Q.

Stay tuned for a follow up blog post with some more footage and examples, as well as the GH4 Learning Lab I’ll be presenting June 25th here at Rule Boston Camera!

Alex Enman, Engineer, enman@rule.com


Dotted Line

May 9, 2014

Production LEDs in a New Light with Zylight’s F8

UPDATE ON 5/12/14:  Since my original post below, I’ve learned that the F8’s bellows are actually made from silicone which should last significantly longer than rubber and that a redesigned yoke was already shown at NAB.  Zylight’s on the ball!

We’ve all heard about the merits of LED lighting (low power draw, low heat, no bulb changing, etc.), but for the reality of production work, there were always major trade-offs. The throw of an LED light was useless unless you were right up on the talent, their color rendition was poor and their tell-tale multi-shadows were garbage.  LEDs were rightly relegated to being just an easy fill option or kick light.  Even their flicker free qualities were limited by their low output which is not what you need for high frame rate shooting.  Despite a larger power draw and the heat, you were always better off using tungsten or HMI. Zylight’s F8, though, finally spoils us.

This is a focusable fresnel LED fixture (70° flood and 16° spot) that is lightweight, can be powered for over an hour with a standard camera battery, and has the equivalent throw of a traditional 650w tungsten head. I had to break out a light meter to see the proof in lux for myself.  Not to be overlooked is the distinct, single shadow you get from this instrument. You can order the F8 as 5600K or 3200K.

Admittedly, the F8 is a little pricey at $2,400.00 but remember that tungsten replacement bulbs aren’t cheap and neither is your electric bill if you have a studio.  The fact that you can just slap a dionic on the back and you’re good to go anywhere is amazing.  Save yourself from that heavy sack pack of stingers and dimmers.  I appreciate the retracting bellows design that squeezes this unit down to just a few inches thick.  The bellows are rubber, though, so there is the concern of hardening and cracks over time.  The yoke definitely needs a redesign.  Rosettes are for tripods and handles, not lights.  Having two separate rosette mounts to deal with every time you need to make adjustments is annoying.  Flicker free dimming from 0-100% from a small knob in the back or through DMX is a nice feature.  Zylight is very proud of their “Zylink” wireless control control capability but in practice, I could take or leave that feature.  I noticed a USB 3.0 port behind the fresnel lens so who knows what else is to come through firmware.  All things considered, the F8 is already a staple in our lighting inventory here at Rule and once you try it, you’ll be asking for it again and again.

- Jason Potz, Engineering, j.potz@rule.com


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March 18, 2014

The Ever-Evolving F55 and F5

Filed under: New Gear, Showroom, Technology, Updates, What's New — rbcblog @ 2:42 pm

The F55 and F5 are really something.  Just when you think you know them, there’s another update!  For over a year now, the F55 and F5 have been steadily making their way on a pre-planned firmware path that continuously adds to what these cameras can do.  No other camera has gestated outside of the factory as long as these have.  Version 3.0 was going to finish the cameras but then 4.0 was announced and the cameras just keep giving!  The number of codecs (XAVC, MPEG50, SR, RAW and now ProRes and DNxHD!), frame rates (up to 180 internal and 240 on R5), and mount options (PL, F, B4, EF, etc.) make the F55 and F5 the most versatile cameras on the market.  It’s that flexibility, however, that can make them a little tricky to learn at first. Version 3.0 has been out for a little while so we’ve had some time to suss it out. We invite you to another F55/F5 demo in our Showroom on Wednesday, March 26th at 12PM to learn more.

3.0 Stand-Out Features:

Apply, route, and record a variety of LUTs, e.g., shoot RAW and simultaneously record S-log with or without a LUT baked in on SxS.  You can even use Sony’s free software, Raw Viewer, to create your own 1D LUTs to load into the camera.

2K Center Scan mode is not to be overlooked.  Normally, you’re always using the full Super 35 4K CMOS sensor regardless of what resolution you want to shoot.  Windowing in on the sensor, though, allows the ability to use Super 16mm lenses which offers more choices for look, cost, and weight.  This is a great feature that got a lot of people’s attention.

The new color space option, S-Gamut3/S-Log3 offers a more filmic curve that allows more detail in shadows and the application of standard LUTS, not necessarily made by Sony.  S-log 2 allows more information in the highlights, i.e., you can overexpose slightly with 2 and underexpose slightly with 3.


The side panel is now fully functional with quick access to the features you need and word is that 4.0 will even bring the full camera menu there.

-Jason Potz, Engineering, j.potz@rule.com

Dotted Line

March 14, 2014

Live Keying with the Sony AWS-750 Anycast Touch

Filed under: Homegrown, Learning Lab Series, New Gear, Technology, What's New — rbcblog @ 2:41 pm

When the new Sony Anycast Touch live switcher showed up here at Rule, no one really knew what to make of it. The knee-jerk reaction to the dual touch screen, Star Trek looking switcher, was a wave of mild curiosity – followed closely by the inevitable “Where are all the buttons!?” See, in the world of live events, switchers usually have switches — physical buttons, knobs, and other touchy-feely things to give the user some satisfying real-world feedback when using the equipment. The new Anycast Touch, as one could assume from its namesake, looks more like an iPad than a switcher – and after you accept the new form factor, it’s awesome.

In this post, I won’t be going into every nut and bolt on the Anycast Touch. Instead, I’ll be focusing on one advanced ability — live keying. If you’d like to know more about the overall basic operation, my tips and tricks, and a more in-depth outline of advanced workflows, RSVP to events@rule.com for my Learning Lab here at Rule on March 26th. We’ll be going over a handful of real-world switching situations to acclimate both seasoned vets and users who are new to live event production.

In the past, doing live chroma key work has always been a daunting task. Lighting your green or blue screen evenly was absolutely essential to getting a good, passable key – and to a large extent, this is still true today. The Anycast Touch is very forgiving, though. It deals with hot spots and wrinkles fairly well, though spill is something one should always be mindful of. A good rule of thumb is to simply get your talent as far away from that colored backdrop as possible for your framing.

The Sony Anycast Touch is unlike any other switcher when it comes to live keys (or anything else, really). The interface for keying will look familiar to any users who have used chroma keying features in any popular NLE. While it isn’t as populated with intricate refining features like Adobe’s UltraKey or Keylight, it’s surprisingly powerful.


Sony gives us 3 main sections in the Chroma Key settings:  1) Chromakey, 2) Crop, and 3) Size/Position. I won’t spend too much time on the last 2, as they’re fairly self-explanatory. In the main panel, though, we have some interesting choices. The “Auto” mode is very robust, and often gets it pretty close. When in auto mode, we are given a small white box on our main display to move around (I prefer using a mouse and keyboard when using the Touch, as it makes dragging this box around much easier than using your finger). I find that selecting the darker spots of your green/blue screen produce the best results — though lighting your screen evenly is always recommended. Even so, I’ve gotten some remarkable results from wrinkled and uneven lighting — there is enough forgiveness here for users of all levels to give it a shot.

Color Cancel is a great addition by Sony — it is your basic “spill suppression.” Instead of adding magenta to green, though, it simply finds any leftover areas of the sampled color and desaturates them.  This is fantastic for tough keys with fairer skin and lighter hair. I wish there were ways to adjust the amount of hue and luma for the key’s selection, but, even without it, it seems to work very intuitively. Sometimes, if your talent is wearing darker clothing, this can present itself as a fine grey outline. Fiddling with the manual gain and density adjustments is usually enough to get it passable.

Disable Colors will help you select as to whether you want to composite your title graphics, or have them overlay as normal. Not much to worry about here – basic rule of thumb is to leave it be unless your titles are behaving strangely.

My recommended workflow for keying is to use auto mode to get you in the ballpark – if you’ve lit your screen fairly well, you often won’t need to mess with anything else. If you’re finding issue, switching to manual will save the auto settings, then adjusting the Clip slider is usually enough to get you the rest of the way there.

Here’s a photo of the test we set up:


I tried to emulate a portable, lower budget situation for users who would be on location, streaming live to the web or to internal monitors. We used a collapsible Chroma Key flex-fill, clamped to a few C-Stands. For lighting, I threw up some Litepanels 1×1’s, with full diffusion and ¼ CTO to keep the greens looking green. For our single key light, I used the Litepanels Ringlite Mini. A small LED light would be a great addition to this set up for some fill light, but I tried to keep things simple. Our camera? Your standard Canon 5D mkIII with a 24-70mm, stopped down to f4. Here’s a still from this setup, with our own Jenn Jennings reading the weather!



You can see that even with a very basic set up, you can get a pretty convincing chroma key up and running without too much fuss. Green screen live can be a great tool for corporate productions, broadcast situations, and webcasts. It can also be a great way to easily get a visually interesting interview background when space and budget is limited.

In addition to the traditional chroma key situations, one can also use chromakey for using animated titles. The Anycast Touch, at the end of the day, is still a switcher, and switchers are always going to be limited in certain ways. With the Touch, we are unable to import animated graphics into the internal SSD for use in the titling section. Even when exported with an alpha channel, the Touch can’t process it. By using chromakey, however, we are able to circumvent this limitation. We can use the internal media player and chromakey effect to knock out the background, and use live animated graphics. In this way, your graphics are really limited only by your graphic designer’s talents!

Here’s a video sample using a gaudy animated lower third I threw together in After Effects. Exported as a simple MP4, I used a highly saturated green as the background.

The Touch removes it perfectly on the auto setting, and we’re able to use animations to really raise production value. The added text has been created and faded on using the Anycast Touch title interface.

Perfect for sports when you need to throw back to instant replay, probably having two opposing team’s helmets smash into one another and explode. Or maybe a robot doing jumping jacks. You get the idea.  The one drawback to this workflow is that Sony only allows you to have a single media player for internal video at a time — so by using it up on the animation, we can no longer put an internal video behind it at the same time internally. Not the end of the world, or even a common situation, but definitely food for thought.

So there you have it. Not so bad, right? With just a flex-fill green screen, a couple lights and a DSLR, you can add tons of production value to both small and large scale productions. I’ll be covering a whole lot more in my Learning Lab on March 26th, so be sure to RSVP: events@rule.com to get the nitty-gritty details on this cool new product.

-Alex Enman, Engineer, enman@rule.com



Dotted Line

March 3, 2014

“Those who cannot remember the past, are condemned to repeat it.”

Filed under: Technology, Updates — Tom Talbot @ 12:56 pm

Let me ask a silly but timely question:  Pretend you were a race car driver in NASCAR. You were in the middle of a race, flying around the track at 190 MPH, and a message popped up on your dashboard that told you that new firmware for your fuel system was available and ready to install, would you click OK?

Historically, meaning as little as a few years ago, editing and post production suites were built and deployed as a completely designed system not unlike a race car.  Under it’s branded and packaged “system” exterior, it was made up of components that, when described individually, were familiar to us.  It had one or many CPUs, operating system, memory, storage and I/O and several specific software applications, waveform/vector scopes and video source/record decks.  In addition, you would certainly have accurate monitoring of audio and video signals, ideally, in an acoustically-treated suite with appropriate lighting and wall color that would not confuse or deceive your visual cortex.

This turnkey package was very tight, in large part because the bits and pieces worked only in a small but specific “compatibility matrix”.  As a result, it was always understood and firmly communicated that you NEVER update software in the middle of a production, you disable Auto-Update (to satisfy the previous requirement) and that you work with and depend upon capable experts before and during planned upgrades.

Upgrades, in truth, need to be considered full re-designs in the sense that there is a delicate inter-dependency between all components and interrupting this “matrix” will have a series of consequences, and unless your name is Neo, you may not even realize that the matrix exists! (Sorry, had to throw that in there.)

Consequences come in many sizes and shapes.  Some, you may never even notice or feel and some may only effect you if a second or third seemingly unrelated event interacts with the dormant first consequence.  If the majority of customers work only on a stand-alone computer with the most common of add-on devices, then the lowest common denominator challenges or conflicts get addressed and corrected early, often during beta test cycles.

Companies like Apple and others have also done a great job intentionally or unintentionally inducing Pavlovian Conditioning with frequent and ever-improving app updates that have taught us that Updates = Good.  Many of us treat these update requests like a new message from a friend, a gift or a present that randomly appears and, best of all, is free!  Why wouldn’t you do it?  Often it corrects and patches flaws and security risks that we didn’t even know existed (until the update told us).  After all, who doesn’t want to keep up with the latest and greatest?

But beware, the editing and graphics ecosystem that you have built, however streamlined it appears, is more fragile and requires more planning than a typical computer or smart phone.  Major operating system updates – like Apple Mavericks 10.9 – change a multitude of things, for reasons that have nothing to do with you or your business.

Here is an example advisory for some high speed, external media readers that came out upon the release of Apple Mavericks:

WARNING Qio E3 is not currently compatible with OS X 10.8.5 and 10.9 (Mavericks). Sonnet is working on a fix for this issue. Qio E3 is compatible with OS X 10.8.0 through 10.8.4 when using Qio E3 software v1.2.1c and later. Until a new driver is ready (1.2.2), do not upgrade your computer’s OS to 10.8.5 or 10.9.”

Personally, I do not blame 3rd party board and hardware manufacturers for this.  A computer is a complex beast, designed for many markets and many uses.  In our high performance, time sensitive, video production world, we depend on our computers to connect with dozens of speciality devices.  Somehow, we have collectively come to expect that all parties involved have been handed a rule book that defines accurately and immediately, all use cases and all code corrections.  In truth, companies like Apple are famous for not providing detailed information about code or methodology changes that may break or change the way pieces or components behave.  There is limited access for developers to beta OS releases and it is next to impossible for a hardware company to run structured quality control tests on all possible configurations.

So, in summary, I offer a few polite words of caution:

• DO NOT be tempted to hit that Upgrade, Update or Download button without first KNOWING why you need it and what it might affect.

• PLAN for upgrades with production and business calendars in mind.

• SCHEDULE downtime and testing as part of the upgrade.

• BACKUP the current system before an upgrade.

• TEST all of the devices and software after the upgrade.

Thanks for listening.  I hope it helps.

Tom Talbot, t.talbot@rule.com


Dotted Line

February 20, 2014

Get Your MoVI Moving: Part 2

Filed under: Homegrown, Inside Rule, Learning Lab Series, New Gear, Technology, What's New — rbcblog @ 4:56 pm

That moment when the olive green Cinema Oxide case was placed by my desk will never be forgotten. What could be in there? Will this be life changing? What does all this mean? Long story short, by opening that case my life has changed drastically. I find myself thinking as a parent does for their child. However, my child’s name is a bit out of the norm. MoVI M10 has a nice ring, don’t you think?

Like any relationship, there are highs and lows. The M10 and I have shared all of these moments from the early headaches at the shop to the winter sunset walks along the Charles River. As our relationship has grown over the past few months, I have learned to appreciate MoVI for what it can do for the entire production community. It is a true game-changer that provides new opportunities and ease.

I have mentioned how easy the unit is to use, but I want you to take that with a grain of salt. There is a lot of time and effort that one needs to invest in order to initially understand how the M10 works and functions. It’s not as simple as taking it out of the box and starting to shoot right away. There are a few steps to remember in order to get optimal operation from the M10.

Before any balancing starts to happen, you always want to make sure that your camera is completely built up. Have your lens, follow focus, transmitter, cables, etc., all squared away. Even the weight of the lens cap will make a difference. Once the M10 is powered on, you want to refrain from adding or subtracting any weight. Adding and subtracting weight will throw the balance off, thus resulting in the motors working harder than necessary.

Once the camera is set, it’s time to start the balancing procedures. Pan, Tilt, and Roll will be your favorite three words after spending some time with the M10. These are the three axes that the M10 works upon. Your balancing will be done in conjunction with these motors and functions.

At this point your camera is attached to the sled, and you are making fine adjustments to get your perfect balance. When you first start balancing the M10, you’ll want to channel all of your patience and take deep breaths. Sometimes the littlest adjustments will make all of the difference in a negative or positive way. Once you have spent enough time with the balancing process, it will start to become natural. Soon enough, you will have no problem swapping from a built-up Epic to a Blackmagic Pocket Camera.

Well, what are you waiting for? Now is the time to experience the M10 and introduce it as part of your next production. Just remember to take the time and learn the ways of the MoVI before you get on set. This extra prep time will save you from a headache and a frustrated Director. Now Is The Time for The MoVI M10!

-Dylan Law, QC Tech, law@rule.com

JOIN RBC’S MIKE SUTTON AND DYLAN LAW FOR AN INTRO TO THE MOVI M10 LEARNING LAB ON WED., 2/26 FROM 10AM-12N.  RSVP: EVENTS@RULE.COM.


Dotted Line

February 6, 2014

Get Your MoVI Moving: Part 1

Filed under: Homegrown, Inside Rule, Learning Lab Series, New Gear, Technology, What's New — rbcblog @ 11:20 am

The buzz of excitement around the MoVI M10 by Freefly Systems is something for the record books. Every website is featuring articles on the M10, and test footage is being posted daily. I haven’t seen anything like it since the RED One was launched at NAB back in 2007. This three-axis brushless gimbal system really is a game changer in my opinion. After working with the unit for some time, I have gotten over the “hype” and started to realize the practicality of the unit and how it may start to change the way we think of putting a project together.

Dolly Track, Operators, Jibs, Cranes, and much more won’t be a thing of the past, but, if one is working on a budget, there is a solution now that will help to cut down on all of these costs.  Sure, it may cost a nice chunk of change to buy, but renting the M10 is a great option. Less bodies and gear on set has never been a bad thing. One MoVI Operator, One Focus Puller, One Remote Control Operator and a Director sounds like a great production day. It’s that simple, and you can create a look that would take days of pre-production and hours of assembly on set to achieve. When you go to playback that first shot, trust me, you will be blown away at what you just captured in such a minimal manner.

After seeing what was possible with the M10, it was time to push it to the limits. Why not run with it at full speed and see what happens? Well, what happened was a shot that was so unbelievably smooth, I had to watch it three times! The footage was so much better than I expected. Then we received the Ninja Star Adapter.  At that point, I hadn’t heard much about what this would open up in terms of shooting with the MoVI. Boom!!! I grabbed the Porta-Jib and attached the MoVI to the Jib in an under-slung fashion, and it was time to rock. The results were hands-down the most responsive Remote Head I have ever worked with. Oh, and just to remind you all…it was Smoooooth!!

The ten-pound load capacity that the M10 offers may scare one away at first. Fear not, you can achieve a very high level of production while using the unit for your project. Are you looking to work with the RED Epic? Consider it a done deal and with accessories. Let’s use a Wireless Follow Focus System with that Zeiss Superspeed, and, of course, you want to transmit to a Wireless Monitor as well. All of these high-level production needs are possible with just a bit of tinkering and patience.

Oh, you say that you work with the Canon 5D MIII, Black Magic Cinema Camera, FS700, Canon C300, or C100? Not a problem in the least bit. All of these cameras will pair just perfectly with the MoVI M10, and the footage will be oh so smooooth!!!!

-Dylan Law, QC Tech, law@rule.com

JOIN RBC’S MIKE SUTTON AND DYLAN LAW FOR AN INTRO TO THE MOVI M10 LEARNING LAB ON WED., 2/26 FROM 10AM-12N.  RSVP: EVENTS@RULE.COM.


Dotted Line

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