So what does an HDSLR Hybrid Shoot Look Like?
I just completed an HDDSLR project that involved shooting stills and video at several locations across the U.S. The shoot was commissioned by Greg Sylvester of VSA Partners a well known agency that has a wide range of corporate and commercial clients. Our goal was to produce an annual report that would live both in print and digitally on the web as both stills and video segments. While this was by no means a “small shoot” it still lives in the mid-level sized corporate shoot in my book – this is no means what I would bring to an editorial shoot for example.
VSA HDDSLR Still & Video Shoot – HOVER OVER IMAGES FOR CAPTION/GEAR INFO – Images by Vincent Laforet
Given the level of interest in this new technology – I though that readers might appreciate a slide show of images that show what such a production might entail in terms of gear. Please note that over the next few weeks I will be going over the gear that I used in this production on this blog in detail – so please hold all of your gear questions for now.
I can image some of the reactions to seeing (or trying to find) a Canon HDDSLR buried under all of this gear. “Why in the world would one go through this?” – someone might ask. Why not get “x” camera. Well the long and short of it: the LOOK of these cameras is incredibly unique – the video coming out of these camera looks incredibly close to 35mm motion picture film (see image 13 in the slideshow for a good example of what separates this breed of cameras from the others.) Pulling off a similar production with a 35mm film of system would be significantly more time consuming and expensive – there is absolutely zero doubt about it. And don’t forget: the way these cameras perform in low light – also separates them from the competition. So there absolutely is reason behind all of this madness. I had to mention this because I sometimes catch myself asking the very same question… and then I see the results on screen and all doubt is removed.
I should also note a few things – I have gotten special permission from both the agency and the client to post these images – but I cannot show any images that identify the client – I can simply say that the client is a large insurance company. Therefore you will see some shots of the crew as opposed to the final images / video we shot of the actual subjects – and I’ve blurred the subject to protect the client’s privacy.
The shoot involved two parts: one was to produce 7 short 2-5 minute video pieces that included “B-Roll” and interviews for the client’s website as well as a similar amount of still shots for their annual report. The crew was comprised of 7 crew members with the following roles – note that many of them were working in both still photography and video roles:
Myself – as photographer/Director (co-directing w/ Greg Sylvester)
Charles Papert – DP / Camera / Steadicam Operator
Jason Wawro – 1st AC / Focus Puller
Mike Isler – 1st Assistant / Technical Coordinator
Taylor Jones – DIT/ Digital Tech (Video + Video)
Marcus Del Negro – Audio
Andew Loehman – Grip / Assistant
The majority of the the footage was shot with the Canon 1D MKIV for both still and video. This allowed us to travel “light” and as you’ll see – that means between 12-18 cases of equipment totally close to 700 lbs. Given that so much of this gear is relatively new and/or custom made – we were unable to rent a lot of it locally and therefore had to ship/check most of it – which is definitely a bit exceptional – normally we always rent as much as we can locally.
The client also wanted us to have as small of a footprint as reasonably possible – while keeping the production value high. Therefore the HDDSLR was truly an ideal solution for this job – as were such tools at the Lite Panels LED lights that are relatively compact, lightweight and can be easily operated with either AC or battery power.
This was a pretty fantastic assignment that really allowed us to demonstrate what a hybrid shoot like this can bring to the table for the client – they saved considerable time by being able to produce both shoots simultaneously. And the best comment that I heard so far: the clients loved both the still photographs as well as the resulting videos – and that’s great to hear as one of the number one fears when doing a hybrid shoot is to have to compromise on quality of one – or worse: both of the two similar, yet ultimately different crafts involved. You’ll of course notice one very important missing element: photos of me shooting stills…I’ll let you figure out why I don’t have any of those pictures to share (hint: I was busy shooting the assignment…)
At some point next month I should be able to direct you to the client’s site and show you the end results.
You’ll find pictures of a wide variety of gear from: Canon, Apple, Black Magic, Bogen, Denecke, Formatt, Gitzo, Glidetrack, IDX, LitePanels, Manfrotto, Marhsall Electronics, MicroDolly, Preston, O’Connor, RedByte, RedRock Micro, Sound Devices, Think Tank, Tiffen, Zacuto, Zeiss. This is all gear that we now use on a regular basis on most productions – the only notable difference you might notice is that we weren’t able to implement the normal RedRock Micro kit around the cameras because this was my first shoot with production 1D MKIV cameras (we received our 1D MKIV on the second day of the shoot) – and they are of course a bit taller then the 5D MKII and would not fit in my kit built around the 5D MKII. RedRock has since come out with new accessories to fit this new series of cameras and their taller size. Therefore we did not use the standard kit nor matte boxes on this shoot and instead opted to what amounts to a hodgepodge custom built system that quickly allowed us to transfer from tripod/slider use onto a Steadicam with very little lost time. More details to come on all of this gear in the upcoming weeks. So go ahead and geek out.
Which Steadicam model were you using? Are you able to use one of the less expensive models with the light camera or does all of the gear make the SLR “normal camera” weight?
That is an impressive kit. A shoot even one year ago would have looked much different!
Vincent Laforet Reply:
February 24th, 2010 at 5:06 am
@Chris Stenberg, Charles Papert is using a lighter kid that he custom made.
Charles Papert Reply:
February 24th, 2010 at 11:00 pm
yeah, the heavy kid kept complaining too much…!
@Chris, my rig is made up of components from a number of the top manufacturers plus some custom bracketry. It’s similar to a Steadicam Flyer (and uses some parts) but has more robust power and video distribution. This camera package would have been fine on the Flyer also, it was probably around twelve lbs. It flew beautifully and I could shoot continuously without fatigue (of course I am used to an 80 lb rig)!
Looks interesting and impressive!
Vincent, thanks for sharing
Amazing gear,
big development,
thanks for sharing.
Quite an impressive gear list. I wait to see a video on how you did it and the final production. Congrats and thank you for sharing with us
Impressive! Very curious about your experience with the HDSLR/Steadicam combination.
Trevor Meeks Reply:
February 24th, 2010 at 8:02 am
@Sybren, If you’ve watched “Nocturne” or “The Cabbie” they both exhibit good examples of the DSLR/Steadicam combo.
Vincent Laforet Reply:
February 24th, 2010 at 2:51 pm
@Trevor Meeks, Yes – good answer.
Thanks for this most interesting post! I shoot with 5D2 & 7D fitted with handgrips (for the extra battery endurance). I would guess that Red Rock Micro setups for this would accommodate the 1DMK4 as well?
Vincent Laforet Reply:
February 24th, 2010 at 2:52 pm
@David Rilstone, Yes – but it can be a very tight fit – and at times too tight depending on what mounts you use – v
Thanks for your generosity in sharing and giving an insight into this project. It is ground-breaking but also pointing directly to the future of our business.
jim Reply:
February 25th, 2010 at 11:15 pm
@Steve Niedorf, uh…maybe your business. huge turn off.
Wow!! What a big project. Can’t wait to see it.
Hey Vince, awesome shoot. Would you be able to explain anymore about the IDX Camwaves and Black Magic Converter? Is this a trick to avoid using the Canon H.264 codec for a more robust colour space? Thanks!
Vincent Laforet Reply:
February 24th, 2010 at 2:53 pm
@Darren Curtis, Coming in the new few weeks. This is simply to view the video live as we shoot – and replay. We haven’t broken the H.264 codec limitation yet…
“Small footprint.” LOL!
Vincent Laforet Reply:
February 24th, 2010 at 2:53 pm
@Bret Douglas, Glad you made this comment – it’s all relative. For the level of production we had – we were RELATIVELY quite small/compact… this is not a standard still shoot by any means.
Vincent thank you for sharing this, what a wonderful post. It shows you how well these cameras can perform against the rest of the digital medium, they are on a league by themselves. Btw tell you 1 AC that you pull off marks not a monitor, just a small tip 😉
Vincent Laforet Reply:
February 24th, 2010 at 2:54 pm
@Albert, My 1st AC had been doing it for 16 years – he does all of the above. With some of these lenses – esp. the 200mm f2 at f2 – there are NO marks to pull from…
Albert Reply:
February 25th, 2010 at 2:59 am
@Vincent Laforet,
I did not mean to offen you or your 1st ac I am always impressed with the 1st ac’s skills on the set he is the man/woman that makes it happen. I just always been told to pull off the eyes of the talent you can usually expect their movement in advance. I always find it very difficult torack focus by watching a lcd monitor it almost disconnects you from the take.
Charles Papert Reply:
February 24th, 2010 at 10:56 pm
@Albert, The top AC’s in the business are more often than not incorporating monitors into their workflow these days. They still use marks, Cinetape, their wiles…but the monitor gives them the extra information, especially with the larger sensors.
So much for small production… Lots of gear & $$$$
Vincent Laforet Reply:
February 24th, 2010 at 6:09 pm
@Andreas, This is a mid-sized production. Small one is one camera, one tripod or handheld. In this case we had 3 cameras running at once – 4 in fact if you take the teleprompter into account.
The gear is overwhelming.. I love the work that a DSLRHD camera can produce, but where is the cost factor less money in comparison to a real HD video camera??
Vincent Laforet Reply:
February 24th, 2010 at 6:51 pm
@michael, It all depends on what production value you are looking for. Other than the cameras (HDDSLRs) we would have used all of the same gear for this type of production in terms for lighting and support if we were using a traditional HD Video camera. If anything we might have needed more lighting and heavier support. The being said – this is not a “small” shoot – w/ 1 camera and a tripod + one light or three. You need to keep that in mind. The client wanted something that offered a high production value, a moving camera most of the time, and multiple cameras rolling at once. This was by no means a small / simple setup w/ a two person crew. This is very important to point out.
Very informative and killer assignment. Ping me if you ever have any 3D rendering/animation needs for your work/clients. I work for http:/www.pacificommultimedia.com and would love to partner up on some projects. I’ll also keep you in mind for some of our upcoming resort projects as well.
Here’s an example of a recent ‘product’ piece completed for a manufacturer -based on photos, but all rendered by us.
http://www.pacificommultimedia.com/ECHO_CS310.html
Some time could we get a post like this that tours us through your servers/workstations/etc back at your studio (just for the geekiest of us in the crowd)? Thanks.
how do you find the zeiss lenses? i noticed a significant jump in price on them over the past few months.
Thrilled this is all going so well for you. Still missing you at the US Open. Would love to catch up for 2 secs when I’m out shooting in Newport B. in July.
Hi Vince, I enjoyed the look behind the scenes, I am a long time stills pro and have a range of L series zooms but wish to buy a prime lens. I am a beginning documentary maker, they don’t come cheap so I wish to choose carefully, what length lens do you think I would get the most value from as a film maker?. Rod Hardinge, Australia
oops forgot to say I have 5d mk2 rod Hardinge
Thanks for posting this Vincent. Much appreciated. I have found a nearly unacceptable amount of lag using other Blackmagic Design converters – how was their HDMI->HD-SDI converter in this regard? I would have guessed that plus the wireless would leave your monitors with a 3-4 frame lag.
Merci pour le partage. un site a été conçu félicitations très belle 😉
That job was a great learning experience. As a focus puller, assistant, and operator my skills were constantly tested. This new medium is very exciting…. Some people think that you were out there reinventing the wheel. The collision of the still and motion world on that project was really about colaboration. It the motion world there is a system or work structure protocal that is passed down through generations. It the still world there seems to be less structure and a more free form approach to capturing the story. Is one style better or worse? Just different I would say. I learned a whole new “theory” of image capture on this project. It was really refreshing as a filmmaker to change gears and look at things from a completely different perspective than usual. Can’t wait to see the final product.
Amazing kit
So much gear .. !! it’s somewhat discouraging thinking about everything you need in order to get the job done .. make me want to stick with still photography .
nice thnks
Thank you for that great, informative post, Vincent. What brand/kind of silks are you using with your Lite Panels? They seem versatile and functional. Thanks 🙂
Thanks a ton for this, Vincent! I’m really looking forward to your future posts about your gear. We’re planning on shooting a feature this fall and I’m leaning towards a DSLR workflow. I can’t wait to learn more about the gear that you find best for DSLR productions.
Hi, Vincent, your work is always inspiring, thanks a lot for sharing your HDDSLR xperience. I have to choose a field monitor… would you pls give me a piece of advice.
I saw you used Marshall, why do you prefer it over SmallHD DP1?
Tks a lot for answer.
I would love to see a similar “day in the life” of one of your smaller shoots too!
I searched your site for sometime now with no answers so I hope this isnt a duplicate question!
How do you like the GlideTrack? I have used the indi slider from indisystem with very poor results. I am looking for a new slider for our SLR setup
Also we are looking to finally invest in our own lens package… I have always loved the look of zeiss lenses and was thinking of getting a prime kit 18mm 3.5 50mm 1.4 85mm 1.4 but then I keep seeing you shooting on the 24-70 canon and the 70-200 canon… I know they are probably more versatile am I going the wrong direction with the primes?
Thanks for your amazing blog!
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Great job lads, extremely impressed. Can’t wait until it’s out.