Digital Video - November 2008 - (Page 31)

Q& A Leverage has been shot primarily with the RED ONE, with Sony EX1s and Z1Us being used as support cams. changes automatically in the editor’s timeline. No longer do you need that special effects editor to go get the shot, pull the shot, take it to the place to have them work on it. Now it happens instantaneously. I’m literally sitting with the editor saying, “Let’s add some fire into that shot,” and, by the time I come back from lunch, it’s in the cut. That could never happen before. When the RED was initially unveiled, a lot of people criticized it — most without having used it — for its lack of obvious ergonomics. Are there special tools that you’re using to make the camera more useable? We’re actually not averse to the way that they designed the camera. Sometimes we’ll bring in another tool, like an ARRI handheld bracket, but really we don’t have any problems with the design at all. It’s such a light camera that, for Steadicam, for instance, we’re actually able to do a lot more with it than we were with previous digital cameras. There were little things, like some of the early little handles that would break off easily because they were initially made from the wrong steel, but, again, RED has been so receptive that every time we say, “That’s a weak point,” they show up with a better version. The fact that they came up with a camera this good this fast is kind of incredible. They’re putting out a camera that is arguably up there with the best digital camera you can buy at a fraction of the price. Until you buy the lenses!!! [Laughs heartily.] Are there other cameras or gear that you have your eye on for the future? Right now I’m kinda looking at unusual equipment. When we did Blank Slate, I got very excited about all the MicroDolly equipment. I remember we busted it out for the crew in Utah, and my grip was like, “Where’d you get that, Wal-Mart?” So I said, “Laugh now, you’re gonna love it!” The reality is you can move very quickly with it, you can get really good camera movements, and it’s become pretty much our secondary grip package on this show for second unit, especially when using the EX1s. We’ve got the MicroDolly Jib arm, we’ve got the track and the suction-cup mount — that’s the best camera mount I’ve ever seen! So it’s not just cameras. Now it’s all the equipment that has been designed because of the weight load of these cameras. That’s where my head has been at lately. There’s a whole new world of toys out there and I’m just dying to try them out! DV http://www.panasonic.com/avccam http://www.panasonic.com/avccam

Table of Contents Feed for the Digital Edition of Digital Video - November 2008

Digital Video - November 2008 Contents AG-HMC150 Camcorder I-Cuff Eyepiece Protector Instant Expert Avid Media Composer 3.0 DT-B9L 1DU Monitor Flolight LCD500 Dark Red Close-Up: Chop Shop Socky Prime Mover Tools & Technology: DV Expo Toolkit Click to Play DV101 Production Diary

Digital Video - November 2008

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