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Tips on Gyro-Stabiliser on EasyRig

Who has any Experience?

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#1 Philipp Kunzli

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Posted 14 July 2015 - 08:18 AM

Hey Everybody 

 

Im in Preproduction for a theatrical release documentary film on the rehearsal of catastrophes. Every 2nd year there are here in Germany some major rehearsals about nature catastrophes with about  20'000 "background actors" involved. 

 

The idea of the film is, to tell it as narrativ or fictional story. That means there is no narration and it's told only thru the action and the dialog from "the victims and the staff leader. Plenty lot of Mic's as well as more then one camera.

 

The visual Idea is to be in the middle of the "tragedy" and feel its energy. To achieve this result we plan to shoot the drama part handheld, which is around 10 days of shooting. Since its going on the "big screen" and there going to be long parts just "drama-action" I'm looking for something to break the top edge of the handheld movement. (As well as having something to support the weight during some 12h days.)

 

Who was some experience with the setup of having a gyrostabiliser and EasyRig?

(At the moment we look at two different camera options: Sony FS7 or Canon C500

 

Thanks for your tips and tricks...

 

Philipp


Edited by Philipp Kunzli, 14 July 2015 - 08:19 AM.

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#2 Philipp Kunzli

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Posted 14 July 2015 - 01:08 PM

By the way

If you are Interested, under the following link you find a pdf file to the Sony FS7 test.

 

One should pay attention to the clipping in the waveform at 800 ISO. It's much higher then at 1250! 

 

http://frameworks.ch..._FS7_Test_2.pdf


Edited by Philipp Kunzli, 14 July 2015 - 01:12 PM.

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#3 Adam Frisch FSF

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Posted 14 July 2015 - 03:28 PM

Easy-Rig with the Flowcine Serene dampener and the 2-Axis Puppeteer kind of does the trick. That takes the curse out of handholding. Almost eliminating the walking shakes. The 2-Axis Puppeteer (also from Flowcine) eliminates the last bit of trouble - the string getting pulled at an angle and transferring shakes that way.

 

I'm doing a feature with that setup and a Ronin head right now. But it's early days.


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#4 Satsuki Murashige

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Posted 18 July 2015 - 10:08 PM

I second the Easyrig + Flowcine Serene Arm + Puppeteer recommendation. I've only used the single axis, not the 2 axis but it worked well. I would try to have 2 camera bodies and devote one entirely to the gimbal to avoid downtime while switching back and forth. You might have trouble with the length of the FS7, I believe Cinemilled makes some extension arms for the Ronin so you can mount longer cameras. The Movi should be ok, the M15 works fine with the Sony F5/55 and Ultra Primes.

Also, I would highly recommend having a gimbal tech with you for at least the first week of production if possible. Am on a feature now without a Movi tech, and the accumulated cost of camera downtime to the company due to troubleshooting probably would have paid the tech's rate by now. That said if you know the system extremely well and can troubleshoot yourself then maybe you can get away with it.
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#5 Robin R Probyn

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Posted 19 July 2015 - 07:42 PM

Clipping is higher at 800 than 1250.. because you have to give up some highlight  by bring ing your ISO down.. that will happen on every camera.. wouldn't recommend the C500 as like the C300 its actually been disgned to be very uncomfortable hand held,and the audio inputs are for some reason right up high on top of the camera    .. unless you rig it out.. the weight is all in front of you and the VF is pro sumer at best.. 


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