Tips And ToolsOctober 2005
This month, ICG Magazine is offering several new tools for cinematographers and crew. We take a close look at a very different version of the "balloon light," designed to sit in small places when sets grow into the perms. Hot out of the factory, O'Connor's 2060 fluid head-retooled for the HD user. To do away with a lot of the spider webs of cabling on an HD shoot-Evertz fiber optics system. And, finally, designed by assistant Adam Ward-Ward's SNIPER measuring tape. We hope that these Tips and Tools will help you create the visions you and your directors will bring to the screen in the future. AIRSTAR GAFFAIR LIGHTS"For Pirates II and III cinematographer Dariusz Wolski needed a smaller light than the large 16,000 Watt 16-foot diameter helium balloons that we used on the first movie," says gaffer Rafi Sanchez. "We had a huge set that went to the ceiling and needed a soft ambient bases source that gave us our exposure. The light needed to be invisible. The Gaffair is just that-a proper size, seamless wide spread and great quality of light." To fulfill Wolski and Sanchez's need, Airstar created an air-filled balloon that is small, easy to rig and very maneuverable. "We manufactured six prototypes and made three demonstrations in different situations for them," says Airstar's Todd Wimett. "They loved the results of the test and we then manufactured 30 units of the Gaffair 1200 HMI. "Twelve Gaffairs were used to light a set on stage at Universal and 27 units were used on Stage 2 at Disney," he explains. "The lights were rigged above the perms due to restricted clearance height of the trees. "The lights are the only source that would not cast shadows from the perm structure underneath them," Wimett explains. "The set lighting department also carried six units full time for close up daytime shots and night use in St. Vincent, Dominica and the Bahamas. "The units will be used again at the end of August for another stage and then on to the Bahamas." Touted as the "softest light source found in the industry today," the Gaffair lights have been used on commercials-great for cars. This soft light has also been used as a backdrop for still photography shoots. Weighing eight pounds and sized 26 by 60 inches, the lights set up in about ten minutes and can be oriented in any direction, mounted on a stand or handheld. The Gaffair units are available for purchase or rent through Airstar
America, Inc. O'CONNOR 2060 HD FLUID HEAD"HD production is growing and we need to properly support it," says O'Connor's General Manager, Joel Johnson. "This market needs a fluid head designed with the HD user in mind. "The 2060HD is a re-tooled 2060 fluid head that has many more HD style options. The fluid drag has been adjusted for a lighter feel. All the hands-on controls have been redesigned to be more user friendly. The head has been restyled so the controls are easier to work with and more comfortable. "The equipment still accepts Cinestyle accessories, a front box mount and eyepiece leveler and has a variety of standard platforms." The new 2060HD fluid head has quickly become the head for HD users all over the world. In addition to international use in Belgium, Hong Kong, Norway, Romania, Russia and Spain, the 2060HD is appearing in television stations across the country and VER, a New York rental house, can't keep it on the floor. The newest end user is the television series Hope and Faith. "Our HD clients have responded to the true sinusoidal counterbalancing and fluid control range designed for HD users," says Johnson. "They can get a light fluid control for fast moving action or heavy control for dramatic moves shown on the large screen." The O'Connor 2060HD is available domestically and internationally through
O'Connor dealers as well as rental houses such as VER. BAND PRO'S EVERTZ FIBER OPTICS"The new Evertz Fiber Optic system is one of the best advancements for on set work flow for single camera digital cinematography in the last five years," says cinematographer Mike Spodnik (Zoey 101). "Evertz's system consists of two parts; the onboard camera back and the base station. Both of which are well designed and full of good options for complete customization for different production needs." According to users (which include the team headed by Ed Lachman on Prairie Home Companion), the system allows a much better cabling solution for single camera location work in HD. "Since I started working in HD in 2000, we always had so many cables to deal with to-and-from camera that it slowed down the process of moving the camera to the next set up," says Spodnik. "Fiber lets us use one cable to-and-from camera, which makes the process much faster and easier. Down the fiber we send sound, picture and time code. Also, we use a hybrid copper/fiber cable that allows us to power the camera without the need for block batteries. The Evertz Fiber System also allows you to capture a live down converted via FireWire to a hard drive or digital tape format in real time. "It is different from other fiber systems in that it interfaces with the Sony 50 pin connector directly without the need for multiple 'jumper cables' to talk with the camera. This makes the onboard Fiber back much more stream-lined and smaller." "In addition to camera power, video, timecode, tri-level sync,
and intercom/IFB being transmitted through the small fiber cable, complete
camera control is also available," explains Michael Condon, SOC,
HD Department manager at Clairmont Camera. "The cameras can be located
at a distance of up to 2km from the engineering station. When equipped
with a 'graticule generator," precision framelines can be 'burned'
into both HD and downconverted video outputs as well. The system is ergonomically
packaged in a shock mounted 'flightpack' for mobility in the field. We
have it available in single or multiple camera packages." WARD'S SNIPER"Necessity has always been the mother of invention," says first assistant Adam Ward. "As focus pullers, we are faced daily with situations that would make most people cringe it they understood a little physics." Focus pullers need to be transparent-they magically measure and keep the shot sharp. However, they do at times need, as Ward puts it, "screwdrivers" to make that magic happen. Several years ago, Ward began toying with an infrared laser measuring tape that does something similar, although different, than the Panatape and Cinetape. "These two are sonic devices and reach their maximum capability at 20 feet," he explains. The Mark I evolved from an accurate range to half an inch when shooting from one to 100 feet. "Mark II has the ability to track a car in at about 30 mph," says Ward. "It is accurate to an eighth of an inch at 500 feet. It is also delicate enough to track a human face on a 300mm lens inside of ten feet." Easy to set up and operate, the Mark II weighs only 1.1 pounds and is extremely directional. "It allows you to know exactly what it is aiming at because the beam width is approximately an inch and a half," he explains. "Once you are comfortable with the Ward's SNIPER set up and operation, it can be used under almost any shooting situation," he adds. "I used the Mark I on 44 episodes of Angel and it saved my bacon quite a few times, especially when talent missed their marks or were behind objects like bars or counters. It became extremely helpful on practical locations where immovable obstructions often blocked my view. Shooting through glass is a favorite. It's hard to get steel tape through that! "The tires have been kicked on the Mark II on 13 episodes of Fox's The Inside," he adds. Special thanks go out to Robert Keslow, Dan Donovan, Dave O'Neil and Andrew Young for making this new tool happen." Both Ward's SNIPER units are available for rent at Panavision Hollywood
and Woodland Hills as well as at Keslow (Mark I only). |
