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A Miller Compass 20 fluid head with Solo 3 stage carbon fibre tripod has proven to be more than tough enough on a recent assignment in the rapids and canyons of the Arkansas River in Colorado, USA. Nathan Ward from Grit & Thistle Film Company commented:
“ We do a lot of work in the back country, so we need a system light enough to carry in a backpack to the top of a mountain but robust enough to survive a ski shoot in a frigid climate with treacherous landscape. We get that versatility with Miller.”
For this recent shoot they went on a wet and wild adventure. Whitewater rapids were tackled as well as rough and dusty environments.
The documentary, The Land Defended: Veterans Expeditions and the Browns Canyon looks at the culture of adventure as experienced by 3 war veterans.
Canon are now offering their EOS C100 camera with a free Atomos Ninja Star*
Simply choose from any of the great kit options available and claim the free Ninja Star.
Dual Pixel CMOS AF is a sensor-based, phase detection Auto Focus (AF) technology designed to support video shooting, and a compatible CMOS sensor was included in the original design of the EOS C100. Following further technical development since launch, the camera can now be upgraded to offer users enhanced functionality and added value.
While the underlying Dual Pixel CMOS AF sensor technology in the EOS C100 is similar to that found in the Canon EOS 70D digital SLR, it has been adapted to fit the capabilities of the EOS C100. It has been optimised specifically for video shooting, and provides fast, natural focussing in a familiar visual style. As such, capturing a subject and retaining sharp focus, even when moving, has never been easier.
First-Class Camera System
Advanced Automatic Features
Robust, Compact Design
Offer ends October 31st
*does not include any media.
An interview with Paul Cameron, ASC, by O’Connor Engineering. We love the O’Connor Ultimate 2575D.
As you began your career, what films/cinematographers did you study and why? When I attended SUNY Purchase, I’d go to the NY Film Festival and see every film I could. My second year at school I saw Wim Wenders The American Friend. That film changed my life. Robby Muller’s work made me want to shoot films. The images felt real. They felt like home.
What other artistic fields influence your work? In the early ‘70s, I lived with my brother Peter in NYC. He brought me to see Kubrick’s A Clockwork Orange, Coppola’s The Godfather, Pakula’s Klute. The list goes on. Futurism was an artistic and social movement in the early 1900s. The paintings translated to the intrinsic nature of speed and movement. The inherent graphic nature of the imagery has always attracted me. I have also been inspired by Stieglitz and his quarterly publication,Camera Works. Also, from the early 1900s, this publication was dedicated to helping photography become recognized as Fine Art.
Give us an example of a movie, a sequence, that says “this is what making moves is all about”? One of my favorites is Godard’s Breathless. It’s a single shot when Belmondo approaches Jean Seberg while she’s selling the Herald Tribune newspaper on the streets of Paris. They walk away from camera and the camera follows them. As she peddles the paper, he asks her to go to Rome with him. They get to the end of the block and turn and walk to camera. The camera now backs up. She asks him if he wants to see his horoscope. He says he doesn’t believe in the future and asks her again to go to Rome with him. Nothing and everything happens in a single shot and moment. It’s genuine or it’s not.
What is one of your favorite locations that you’ve shot and why? I’ve shot around the world and seen some stunning locations. When it comes down to it, the streets of New York City are my favorite. Woody Allen sums it up in Manhattan at the end Brooklyn Bridge scene. “It’s really a great city, a knockout!”
If you hadn’t become a cinematographer, what would you have done? When I was in high school, I worked on fishing boats during the summers. Luckily, during the school year, I saw my future when I passed Gordon Willis on the streets in NYC shooting with Woody Allen or Coppola. Otherwise, I would have owned my own boat and become a Captain.
As you speak to people who have the passion for the industry you do, what kind of advice do you pass on? Someone once told me, that you need to walk through life and be “interesting” or be “interested”. Since then, that’s been my paradigm for life, really. When I am not doing interesting work, I stay focused and continue my work behind closed doors.
Paul Cameron, ASC
Paul Cameron, ASC has worked on some of the most visually groundbreaking feature films in the past decade. The bold visual approach developed by Cameron and co-DP Dion Beebe ASC, for Collateralwon them both a Best Cinematography Award from BAFTA as well as nominations from the American Society of Cinematographers, the Los Angeles Film Critics Association and the Online Film Critics Society.
Cameron has lensed for directors Tony Scott (Man on Fire, Déjà vu), Dominic Sena (Swordfish, Gone in Sixty Seconds), Len Wiseman (Total Recall), Michael Mann (Collateral) and many others including his most recent pairing with Niels Arden Oplev (Dead Man Down).
In 2003, his masterful lensing caught the eye of the Clio and AICP awards. His photography on the BMW featurette Beat the Devil (directed by Tony Scott) took top cinematography honors at both events and is now part of the NYC Museum of Modern Art’s permanent collection. He won another Clio in 2008 for the VW Golf Night Drive spot with director Noam Murro – his third Clio to date.
The challenge of working in any animation is the ability to bring characters to life. Animation differs from live-action as there are no sounds ‘captured’ during the filming process. Just like pixels are used to build the imagery, the sound also needs to be created from the ground up. With a film like The Lego Movie, part of the creative process is to derive unique sounds that are already familiar to an audience, yet are still original and represent what it would sound like if we were living in the Lego world. Everyone is familiar with the sound of the plastic clicks made when joining Lego together or the sound of Lego being poured out of a box.
With the responsibility for creating the sound effects for several elements of the film including the cars, spacecraft, Wyldstyle’s motorbike and Lord Business, I was conscious of creating sounds that were both realistic and still had characteristics of the familiar Lego sounds. The challenge here was to find, record and create a hybrid sound that was both realistic and also aligned with the narrative of the film.
The character Lord Business (voiced by Will Ferrell) differs from the other characters of the film as he transforms from being the regular Lego-sizedPresident Business to the towering, flame-bursting Lord Business. When creating the transformation sounds I wanted to portray both the sound of Lego pieces building and clicking together as his legs extend and also a mechanical transformation sound.
Using exclusively RØDE microphones, I first started experimenting with both the NTG3 and the Procaster. My recording subject was a broken children’s toy car that had noisy broken cogs inside it. This was the ideal sound as these broken cogs ‘clicked’ and grinded allowing me to rotate the wheels in time with the transforming images. Although capturing a clean sound, due to the minuter of the cogs inside the car, the detail of the inner workings of the car was lost. Having a smartLav on hand, I attached this directly to the car. To my surprise thesmartLav sounded amazing capturing all of the additional detail from within the car. With its supplied clip, the smartLav allowed me to attach the microphone in very close proximity to the sound source, allowing the sound to be ‘larger than life’, something that complimented the character of the film.
Some of the numerous toys Damian used to build his sound effects
With such surprising results I continued to use the smartLav as my microphone of choice for almost every sound that I created for the Lego Movie. Building on from the Lord Business extension sounds, I used the smartLav to record all his mechanical walking moves. For this particular effect I rigged thesmartLav onto a cheap toy motorbike. This allowed me to rotate the rear wheel on the bike back and forth synchronised with the onscreen walking – creating a mechanical servo sound. Again, having the microphone located only a couple of millimetres from the source sound allowed this tiny (2cm.) wheel to sound as if it were the hydraulics for a giant robot.
Chris Du’Mont dropped in during our C100 Masterclass with Matt Davis. While he was here we had the opportunity to project his latest documentary short using our Canon WUX-8500 projector. We were blown away by the quality of the content, and managed to borrow him for a quick interview. You can see the results here:
To see Chris’ video head over to vimeo with the following link, http://vimeo.com/102016624
5 minutes on YouTube ….Brighton Pier looking good!
Click here …. Miller Air Tripod
As an expedition documentary sound mixer, David Ruddick has worked in some of Earth’s most extreme environments. From scorching heat to blistering cold, Ruddick knows the importance of having reliable gear on location. That’s why he’s made the Sound Devices 633 Production Mixer the backbone of his compact audio rig.
Weight, battery life and quality are his top priorities, so when Sound Devices introduced the six-input, 10-track 633, Ruddick incorporated the all-in-one recorder/mixer into his audio rig. “I knew the 633 would be a bag-changer for me due to its compact size and functionality,” he says. “When you’re hiking with gear on your back, less is definitely more. The 633 is a pretty amazing tool in a small box.”
Ruddick has already put the 633 through its paces around the world, from the super humid and wet conditions of the Philippines to the icy cold weather of Canada and Utah. In the Philippines, he recorded the Philippine eagle, one of the largest birds of prey in the world, for the Cornell Lab of Ornithology, a member-supported unit of Cornell University that studies birds and other wildlife. The super-long battery life of the 633 was crucial to this project, as accessibility to electricity was limited. Not having to constantly worry about battery power gave him the peace of mind needed while working in such a remote location.
Ruddick then headed to the cold of Canada and Utah to film skiing for the Teton Gravity Research series, Locals. “I literally went from hiking muddy hot trails to snowy mountains,” he notes. “The contrast of these two locations is a true testament to the durability of Sound Devices products. And of course, most importantly, the 633 sounds great. I have used Sound Devices equipment for a long time and its gear has consistently worked well in the harsh environments I have subjected them to; the 633 is yet another great product from the company.”
Ruddick found it easy to transition the 633 into his expedition-ready audio setup, finding it compatible with many of the mainstays of his rig, such as Lectrosonics wireless receivers and Schoeps and Sennheiser shotgun mics. In addition, Ruddick always packs a Sound Devices USBPre 2, a high-resolution, portable hardware interface for Mac- and Windows-based digital audio. He calls upon it for playback from a computer, which is extremely useful while on location. He also employs it to extend the number of preamps on the 633 so that he can capture surround recordings.
The powerful 633 mixer/recorder features six inputs, with three high-bandwidth mic/line XLR inputs complete with phantom power, high-pass filter, input limiter and variable pan. Three additional line-level inputs appear on TA3 (mini-XLR) connectors. All inputs are assignable to any output bus. The 633 also offers 10-track, 24-bit, 48-kHz uncompressed polyphonic or monophonic broadcast WAV file recording (96 kHz for eight tracks, 192 kHz for six tracks) or timecode-stamped MP3 recording to CompactFlash and/or SD cards. All six inputs, plus left/right and aux 1/2, can be recorded to individual tracks.
The 633 offers dual-card slots that record to either one or both cards simultaneously, with the added ability to assign different tracks to each memory card. The 633’s high-accuracy, Ambient-based timecode generator/reader assists in multiple-camera and double-system sound applications. All common production timecode rates and modes are available. Extensive file metadata is supported along with the timecode. The 633 also features a keyboard port for quick and easy metadata entry. Unique to the industry, the 633 is equipped with a four-way power supply and Sound Devices’ proprietary PowerSafe technology.
The two-channel USBPre 2 offers professionals a powerful yet easy-to-use portable interface to interconnect audio sources to both Mac OS and Windows computers over USB. The class-compliant plug-and-play device accepts mic-level, line-level, consumer-line-level and SPDIF-digital (coaxial or TOSLINK) inputs. Its microphone preamplifiers have selectable analog limiters, high-pass filters, 48 V phantom power and high-resolution LED meters. Because the USBPre 2 draws its power solely from the computer’s USB port, no additional power source is required. Sound Devices designed the USBPre 2 for both reference quality input and output. Its balanced XLR outputs offer superior rejection to interference and are switch-selectable between mic or line level. Additionally, a consumer RCA-type output is available for connection to unbalanced inputs. Its headphone amplifier easily drives full-sized headphones with extensive, clean gain.