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Browsing Category Reviews / Tips

This section is dedicated to camera gear and rig reviews and tips.

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Yellow Rage Cameo in  "I GOT MY"

Yellow Rage cameo in new – Magnetic North – Taiyo Na – Jin – Music Video

When I think of Philadelphia based artists that have endured and have made a difference in people's lives I think of the Spoken Word duo Yellow Rage. Both Catzie Vilayphonh and Michelle Myers who make up Yellow Rage are phenomenal artists. I have known them for many years and I am fortunate enough to have been there from the very beginning before there was even a Yellow Rage. Both Catzie and Michelle were a part of the Something to Say writing and performing workshop that I led over ten years ago and since then they have been a force to be reckoned with in the Spoken Word scene. Their mix of hard hitting poetry is both personal and socially conscious and they have never been afraid to put themselves out there even if it makes an audience feel uncomfortable. And most of all, they are both some of the most giving community based artists out there who teach, inspire, and give back to the community so it is an honor to work with them on a music video cameo appearance in the new Magnetic North – Taiyo Na – Jin video called "I GOT MY".

The actual music video only uses just a few seconds of the Yellow Rage segment so I thought I'd highlight some of the footage we got with the new indiSYSTEM indiGO-JIB which was a key success in giving us the unique birds eye perspective on all our shots.

I've already mentioned it before but the indiSYSTEM indiGO-JIB is the ideal compact jib on the go. I think the indiGO-JIB works so well in the music video format because its easy to setup and easy to operate and gives you a lot of creativity not to mention instant gratification. In fact, our youth from our Tech Apprenticeship program at the Asian Arts Initiative are really learning how to use it quite well. All the Yellow Rage footage we shot for the music video was in fact all set up and operated with the help of youth and young adults with little or no experience. Because of the fun we had using the indiGO-JIB we are planning on shooting one of Yellow Rage's classic poems, "I'M A WOMAN NOT A FLAVA" later this summer.

Here are the three different versions of the Yellow Rage "I GOT MY" segment. Enjoy!

"I Got My"
Magnetic North / Taiyo Na / Jin

Cameo Segment: Yellow Rage, Asian Arts Initiative Community

Filmed by Youth from the Tech Apprenticeship Program at the Asian Arts Initiative

Cameo Segment Directed by Gary San Angel

Camera: Panasonic GH2 in ETC mode
Lens: Navitar 6mm f/1.4 c-mount
Rig: indiSYSTEM indiGO-JIB

Yellow Rage Cameo – Magnetic North / Taiyo Na / Jin – Music Video Version 1

Yellow Rage Cameo – Magnetic North / Taiyo Na / Jin – Music Video Version 2

Yellow Rage Cameo – Magnetic North / Taiyo Na / Jin – Music Video Version 1&2

Philadelphia Suns Lion Dancers

indiSYSTEM indiGO-JIB roars with Philadelphia Suns Lion Dancers

I have been training a group of teens and young adults in both technical theater and live event filmmaking at the Asian Arts Initiative in Philadelphia. At each session I invite local artists to perform in our classes so that our tech apprentices have a real world opportunity to design lights and shoot film. This time we had the Philadelphia Suns Lion Dancers perform their beautiful Chinese New Years dance and we filmed them using our GH2 and indiSYSTEM indiGO-JIB.

I've used a jib crane a few times and they give you spectacular looking shots but I personally don’t like using them because they are huge and bulky not to mention take some time to setup. The last one I used I couldn't get the weights just right so the camera was always too top heavy. So when Tim told me he had created a portable jib arm perfect for smaller DSLR cameras that was easy to setup and light weight I was pretty intrigued.

The indiSYSTEM indiGO-JIB when folded down is only 38” long and can easily be packed in a bag and taken from the streets to the wilderness. When fully extended and with the front camera/monitor plate attached you get a little over 8’ of reach and when placed on your fluid head and a 4’ set of sticks you’ll have your camera up 12' in the air.

My total set up time took me fifteen minutes to get my camera and tripod balanced and working. One of the big reasons for this is that Tim did a terrific job in creating levels of adjustments on the telescopic arm and at the weight level end to get the jib arm balanced just the way you want it. Typically with a jib crane if you are slightly off alignment its because the floor or your sticks are not level. When this happens the adjustment to get it level is a pain.

With the indiGO-JIB its very easy to get the camera pivoted so its level because you can loosen two top and bottom knobs on the telescopic arm and hand torque the camera until its level and then screw it down. This allows one the flexibility to shoot the camera nose down or nose up. You have a degree and a half front and back movement allowing for quick level shooting and a lot of creative angled possibilities. 

Balancing the camera with weights is pretty easy. You can purchase the 4 liter plastic containers that you can fill with water or dirt or use your own weights. Whatever weights you decide to use there are a number of adjustments on the jib arm that allow you to get the camera balanced just right.

I have done a lot of playing around with the indiGO-JIB both with the prototype model and the production model and the fine tune adjustments is simply a solid home run here.

The students from my class really just had a ball and were able to setup, balance and operate the indiGO-JIB quite well. We shot the Philadelphia Suns with a Panasonic GH2 and the Navitar 6mm f/1.4 c-mount lens using the GH2's ETC mode. I've already posted about this lens and its wonderfully sharp and a nice pairing with the GH2 and indiGO-JIB. For some of the closeup shots of the Lion Dancers we used the Schneider-Kreuznach Variogon 12.5-75mm f/1.8 c-mount zoom lens. It's nice and sharp on the tele side but a tad soft on the wide end but still fun to use. The nice thing is that we switched lenses a lot and we easily balanced the rig by unlocking and sliding the weights to the right position in just a few seconds. This is one jib that I know will be loved by students and pros alike and should be used as a teaching tool from small humble video classes to film schools everywhere because it's portable, affordable, and easy to setup and you get some amazing results.

Philadelphia Suns Lion Dancers – Chinese New Years Dance

The Philadelphia Suns Lion Dancers perform a Chinese New Years Dance that is traditionally done during the Lunar New Year. The Suns Lion Dancers visit restaurants, businesses, homes, and special family functions in Chinatown to give good fortune and blessing for the coming year. Usually, you must provide an offering to the Lion with fruits or vegetable.

In the dance the Lion is offered food but then must spit it out because it can not consume any physical food just the spiritual sense. After the eating ritual, the Lion then sleeps and then fully awakens and ends the final dance by bowing and bringing good blessing to the home.

Main Lion Head and Lion Dance Instructor: Peter Louie
Rear of Lion: Kevin Leong

Camera: Panasonic GH2 in ETC mode
Lens: Navitar 6mm f/1.4 c-mount
Schneider-Kreuznach Variogon 12.5-75mm f/1.8
Rig: indiSYSTEM indiGO-JIB

Filmed by Youth from the Tech Apprenticeship Program at the Asian Arts Initiative
Crew: Han Lin, Jaime Tat, Jenny Tat, Ty Givens, Jonathan Bennet, Kaitlin Dugan, Steve Calvarese, Loc Ngyuen, Charles Ramirez
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Aloha Winter indiSYSTEM Bulldog Panasonic 14-140 lens GH13

indiSYSTEM Bulldog and GH2 ETC test from Snow Storm to California Dreaming

Snow Film Test Challenges with GH2 and indiSYSTEM Bulldog and BallGrip

Most of my short films come out of making something out of nothing. This instance is no exception. This past weekend it had snowed in Philadelphia and I thought it would be a great opportunity to shoot a test with the Panasonic GH2 camera and indiSYSTEM Bulldog and BallGrip rig using a few of my legacy zoom lenses. I first set up my Schneider Variogon 18-90mm c-mount lens with GH2 and indiSYSTEM Bulldog rig. I tested everything indoors pulling focus with my Chrosziel follow focus and 80mm SNAP! Gear fitted snugly on the lens and felt pretty good to go but as soon as I stepped out the door it was a different story. I could barely see the GH2 LCD screen with the snow falling everywhere and white brightness all around and I had forgotten my variable ND filter so I was getting utter crap. The camera and rig were getting icy and wet and I was just about to call it quits when I remembered I brought Tim Ovel's hacked GH13 with me in my bag as a backup. It had the Panasonic 14-140mm lens and I set the lens to autofocus and kept trudging onward. Since my gear was wet anyway I set the GH2 and Bulldog rig in the fresh heap of snow and took a few quick snow pics of the gear. I then gave the GH13 and Panasonic 14-140mm a quick spin on the Bulldog as I walked back through the falling snow. The 14-140mm lens in AF mode allowed me to press record with out worrying about looking at my snow filled LCD screen leaving me with at least some usable footage.

When the snow finally stopped I decided to go back out to give my legacy lenses one more try on the Bulldog rig. This time I wanted to shoot with the Angenieux 8-64mm c-mount lens which was the first legacy zoom lens that I purchased for the GH1. It's not a perfect lens by any means and is riddled with some of the problems that many c-mount zooms have on the m4/3 system but I was thrilled by the character of the lens and the ability to see it in action with the new GH2 ETC mode. It really shines with it's sharpness, contrast and color around the 20mm to 50mm focal range. The 8mm wide end has heavy vignetting and edge distortion and at 62mm, the longest reach of the lens, you'll see a couple metal edges of the interior of the lens in your shot. Despite these issues, I was just thrilled to finally use this lens with the new GH2 Extended Tele Conversion mode. The GH2's ETC is really bringing to life many of these smaller c-mount zoom lenses and primes because you can finally fill most of the frame of the sensor and record using the full resolution of the camera. Another nice feature of the Angenieux 8-64mm c-mount lens on the GH2 is that it gives the indiSYSTEM Bulldog that steadicam feel because the rig is so light weight. I'll talk a little bit more about this lens in more detail in a separate post. You can pick out the Angenieux 8-64mm footage pretty easily. It's all the Philly footage shot right after the snow storm.

Aloha Winter Notes

With the challenges of the snow and with footage that was varied and shot with different lenses I decided I would have to go back to the drawing board and figure out how I can put this all together. To help me in the process I decided to look over some test footage I shot with the GH2 over the holidays. I was in Southern California and spent some time with family in Oceanside, CA. Oceanside is a small beach town just on the outskirts of San Diego and home to an eclectic mix of of surfers, folks who love the beach and military personel who live and work near Camp Pendelton. There's a beautiful pier at Oceanside and I did a few tests with the GH2 and Contax G 28mm lens using the indiSYSTEM Bulldog and BallGrip. Looking at this warm beach footage and the joy of seeing my nephew and his love for his "Aunty Gayle" as he dragged her around the beach pier just made me think of the Hawaiian song "Ku'u Lei 'Awapuhi". It is just the song that comes to mind that always makes me long for home especially during a Philadelphia snow fall. The song was written in 1951 for the remake of the movie "Bird of Paradise". I thought it would be a perfect song to connect these two winter stories together. One of my favorite versions of this song is by Tia Carrere and Daniel Ho whom I admire greatly. Their version of "Ku'u Lei 'Awapuhi" with Tia's beautiful voice and Daniel's wonderful counterpoint with ukulele is quite evocative and filled with a childlike innocense and spirit of longing and reminescense. Their newest collaboration `ikena won them both a Grammy for best Contemporary Hawaiian album.

Here are the words to this beautiful piece.

Ku`u Lei Awapuhi
- Words & music by Emily Kekahaloa Namau`u Taylor

E ku`u aloha e (e o)    I call, my beloved (answer)
`Auhea la `oe (e ia no au)   Where are you (Here I am)
A huli aku au ia `oe    Return to me

Auhea la `oe e ke aloha   Where are you, my love
‘Awapuhi pala o ka ua noe   Like the ginger, covered in the misty rain
A eia no me au     Here, I am with you
I ka poli o ke aloha    In love’s sweet embrace

E ku`u aloha e (e o)    I call, my beloved (answer)
`Auhea la `oe (e ia no au)   Where are you (Here I am)
A huli aku au ia `oe    Return to me

Aloha Winter
a gary san angel film test

Cameras:
Panasonic GH2
Panasonic GH13

Lenses:
Panasonic 14-140 f/4.0-5.8 lens
Contax G 28mm f/2.8 lens
Angenieux 8-64mm f/1.9 lens
Schneider Variogon 18-90mm f/2.0 lens

Rig:
indiSYSTEM Bulldog
indiSYSTEM BallGrip

Music:
Ku'u Lei 'Awapuhi
Tia Carrere & Daniel Ho
Hawaiiana

Location:
University City, Philadelphia
Oceanside, CA

indiSYSTEM bulldog

NEW indiSYSTEM Bulldog Handheld and indiSYSTEM BallGrip stabilizer mount

The new indiSYSTEM Bulldog handheld rig and indiSYSTEM BallGrip mount are just a few of the new exciting products coming down the pipe from indiSYSTEM. Both pieces were sent to me right before the holidays and I've been doing some initial testing and I can report that this is very exciting news. Both products are compact, innovative and quite versatile perfectly suited for the DSLR shooter on the go.

The indiSYSTEM Bulldog is an evolution of some of the best elements from all the indiSYSTEM rail systems. It is a very compact system that weighs under 4 pounds. It is in a way a more versatile indiSYSTEM ULTRAcompact allowing the operator the flexibility of different shooting styles in one system. You can have the option to use the rig for shoulder mount work, then immediately mount it to your tripod, and then take it off again and adjust the rig to fit your own handheld shooting style. The Bulldog handheld has an improved miniMOUNT which is a "C" bracket with handle that allows for accessories to be mounted vertically or horizontally. The rear shoulder pad also has a spot to mount other accessories as well perfect for mounting a wireless receiver or battery pack. The shoulder pad cushion is also nice and thick and made to last. The rail system and connectors are carbon fiber and the grip handles are slimmed down. These improvements create a very light weight system that does not sacrifice strength and durability. The camera is mounted to a Giottos quick release mount which gives you a little horizontal movement for moving the camera to where you need it to be. This is an all-in-one DSLR handheld rig perfect for the GH2 or Canon 7D/5D.

The indiSYSTEM BallGrip does not look like much. In fact, I was confused at first by the design and spent many hours trying to figure it out but after talking to Tim and using it for a few days I must say this is where function far exceeds form. The indiSYSTEM BallGrip's main purpose allows the operator the ability to pull focus when going handheld. The mount fits on the rails behind the camera and it is adjustable with two sized ball points that fit any size hand. This simple design is one of the most practical tools I have been needing for quite some time and I see its real world use being more than just for pulling focus but as a broader multifunctional tool allowing the operator to put it anywhere in their rails system to contour their handheld shooting style to best maximize security and comfortability when shooting handheld for long periods of time. The indiSYSTEM BallGrip design is unusual but quite simple and its application on the field is really amazing. I have already found a few different configurations combined with the indiSYSTEM Bulldog that enhances the stability of my handheld shooting style.

Here are just a few initial pictures of both the new indiSYSTEM Bulldog and BallGrip. I'll be posting more pics and footage shortly. In Philadelphia we've been hit by an early taste of winter. Fortunately, I've been in Southern California during the holidays so I thought it would be nice to take the Bulldog out for a warm walk on the beach.

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Kaitlin and Ng - indiSYSTEM indiGO-JIB - GH2 and Navitar 6mm lens

indiSYSTEM indiGO-JIB will soon be an essential part of the indy music video

Tim Ovel is at it again. First he democratized the follow focus with the indiFOCUS by creating a high quality independent-built follow focus unit that could be used on camera stock lenses without the need for gearing. Next he changed the slider scene with the indiSLIDERpro allowing you to purchase a slider that does not bend or flex for the price that you would have once paid for renting one. Now, Tim has changed the jib crane landscape forever with his new indiSYSTEM indiGO-JIB.

The indiSYSTEM indiGO-JIB is practically a jib arm in a bag. It's a portable jib arm that folds down to 38" which is about the size of an average tripod and when fully extended you have a little over an 8' height extension with the camera plate attached. Most jibs are out of the price range of the average indy filmmaker. They are traditionally bulky and heavy and a super pain to set up and transport.

The indiGO-JIB is quite the opposite. In fact, you can mount the jib arm on an inexpensive Manfrotto 503 fluid head.  You can balance out the your 10 pound camera in just a few minutes and counter weight your camera with either standard plate weights or purchase the 4 liter water containers that you can fill with water or dirt.

Imagine being able to take a jib with you to the wilderness and beyond. The sky's the limit with the indiGO-JIB and for $349 it's a jaw dropping incredible price. Simply put you can not be with out the indiGO-JIB on your next film. Seriously, this jib is designed so well with adjustments to give you the proper counterweight and the ability to get some creative shots that you would not be able to do with your average jib arm. I have a feeling this little guy will be snatched up by folks from the indy filmmaker on a tight budget to the heavy hitter industry DP.

I had a chance to use the indiGO-JIB for a high profile music video. The director asked me to not show the footage until the MV comes out in May so I thought I'd share some footage of our pre-shoot. I had a team of youth and young adults work with me on the shoot. They are a part of the Tech Apprenticeship program at the Asian Arts Initiative which I run every Sunday to train students in theater and film production work. They are a little green but they did a stellar job and it goes to show you don't need to be an expert to use one.

The 8' indiGO-JIB with my Gitzo sticks extends the arm to a reach of 12'. I needed to get even higher so I placed my sticks and jib on top of a few cafe tables which gave me an additional extension giving me a total height of 14.5'. What jib arm do you know that can easily be placed on top of a cafe table and still be rock steady?

We used the Panasonic GH2 in ETC mode with the Navitar 6mm f/1.4 c-mount lens. This is such an ideal combo on the indiSYSTEM indiGO-JIB because it is so small and lightweight.

In normal creative film mode the Navitar 6mm 1/2 c-mount lens is quite small and you get a very large peep hole effect when you look through your viewfinder but in ETC mode it fits the frame perfectly with only a little vignetting and a slight soft edge. Because this is a flat field lens you can get incredible sharpness when moving the jib from a very tight extreme close up on your subject to that of a very wide establishing shot.

I had forgotten to bring a field monitor so I merely stopped down to f/4 and used a ladder to check focus at 14.5' high and then brought the jib arm down to 2' off the ground and our subjects were in focus as we moved the jib from ground to ceiling. It's an incredible lens on the GH2 and combined with the indiGO-JIB is perfect for doing music video work because it gives you incredible range. With the indiGO-JIB you have fluid movement and wonderful shots to discover as you use it from extreme close up to long shot.

I've had the wonderful opportunity to test out the prototype version of the indiSYSTEM indiGO-JIB for a little over two months now and it has been nothing short of amazing. I know it will crack a smile from the big boys because is can do so much in this little frame. I'm sure we'll see it being used on reality tv sets, narrative films and even more music videos. I mean why not? We've dreamed of doing these shots since we started watching movies.

Well here it is folks the democratization of the jib starts today. Damn it Tim! You did did again! Filmmaking is supposed to be expensive and unattainable. LOL! No really, kudos Tim Ovel for making another wall crumble.

Now people go out and make your dream films a reality!

Pre-Shoot test for Music Video
Filmed by Youth from the Tech Apprenticeship Program at the Asian Arts Initiative

Camera: Panasonic GH2 in ETC mode

Lens: Navitar 6mm f/1.4 c-mount
Rig: indiSYSTEM indiGO-JIB

Crew: Ty Givens, Uyen Le, Mary Seng, Kaitlin Dugan, Johnathan Bennet

With Music:
"I Got My"
Magnetic North / Taiyo Na

 
Steve Calvarese - Why Do We Suffer - Spoken Word

indiSYSTEM indiGO-JIB – Steve Calvarese

a gary san angel film test

Why Do We Suffer
Written and Performed by Steve Calvarese

Rig: indiSYSTEM indiGO-JIB prototype
Lens: Navitar 6mm f/1.4 c-mount lens
Camera: Panasonic GH2 Extended Tele Conversion (ETC) Mode

This Winter I have been training a group of teens and young adults in both technical theater and filmmaking at the Asian Arts Initiative in Philadelphia. What makes the process unique is that I invite local artists in the community to perform in our classes. The tech team designs lights, works the camera and shoots a short live video for each participating artist. At the end of the day, the trainees get a real world tech experience and each artist gets a filmed version of their live performance.

For this session, I was fortunate to have Philly based Spoken Word artist Steve Calvarese perform a new monologue he was working on called “Why Do We Suffer”. In this piece Steve brings home some insight on the plight of the homeless. I wanted the camera to represent the POV of someone who is scared to look in the eye of a homeless person. For this shoot, I wanted to test out the new indiSYSTEM indiGO-JIB which is a portable light weight jib arm perfect to use for a small DSLR camera.

I wanted to see if we could use the indiGO-JIB in more of a steadicam fashion which would allow me the ability to have quick lateral camera movement as well as varied low to high fluid camera angles perfect for what we needed to make Steve's piece work.

indiGO-JIB Steve Calvarese - 16

I wanted to also pair the indiGO-JIB arm with the Panasonic GH2 and the Navitar 6mm f/1.4 c-mount lens in Extended Tele Conversion (ETC) Mode. The Navitar 6mm c-mount lens in ETC mode fills the frame with no vignetting and is a flat field lens so you have edge to edge sharpness from lanscape to macro. It is one of the smallest lenses I've used on the GH2 and one of the widest and sharpest. I'll be posting a follow up post on both the indiSYSTEM indiGO-JIB and Navitar 6mm c-mount lens very soon. In the mean time, you can at least see a little bit of the jib arm and lens in action here.

indiSYSTEM indiGO-JIB Steve Calvarese

Artists Notes:

“When writing “Why Do We Suffer”, I wanted to address the sociological phenomenon “invisible minority”. What the mass media projects as “experimental reality” leaves the viewer to question if these people exist. A lot of times, the answer is no. We ignore these people on our daily encounters. They are kept hidden because they are perceived as deviants in society. As a result, we become complacent with this being the new norm. I also wanted to gear away toward minority being strictly a race issue. In doing so, I break the story into three different parts: homelessness, being Muslim, and someone living in jail.

In the video, I embody a homeless person who is telling his/her story of how he/she is perceived as a bum. Because of this label, certain stereotypes are evoked. One of the more common ones is a person having a mental disorder, such as schizophrenia. Since this stigma is implanted into our minds, we keep our distances. I think partly because we are fearful of not knowing what might happen if we approach him/her. We then marginalize these people by blaming it on culture. As an artist and an individual who encounters homeless people almost everyday, I wanted to unmask this preexisting stereotype and others alike by telling a story about a person who is just like us. Regardless if the person is homeless, he/she has a story that needs to be told. I am hoping that our views will shift and that we see homelessness not as a disease, rather a lifestyle resulting from poverty.”– Steve Calvarese

Why Do We Suffer

Written and Performed by Steve Calvarese 

Part I

Can someone give me a sign please?
if they could mind read
and if the blind can see
then possibly, they’ll see
my Sharpie
isn’t dark enough to write
the words
What’s the meaning of life, uh?
trying to be heard
but they’re not bold enough to free me, from the hurt
my net worth,
a piece of cardboard
telling my thoughts from the core
of my stomach
I can barely stomach
these infinite minutes
counting like seconds
to breathe
out of poverty
just another target, trying to pass go but this isn’t monopoly
everyday of the week
I suffer from this weak
economy
please, before I finish
I want you to listen
for a small fraction of a second
a victim, from the world promises
falls in fractions, of my image
isn’t what the world sees
my hands, bleed
from praying,
saying the cause is public housing
minimum wage
traps us in chains
displacement, misplaces our names
from our face, facing
race and racist comments
for being homeless
like the cause for property value going down
I just close my eyes lids
I’m invisible, as it is
to begin with, the physical
we are out of it
another swallow of oxytocin, some klonopin
to ease their pain, but we are the ones who are sufferin’
it’s all a hustle isn’t it
musclin’ until life drags us in
under the system, wonderin’
if they’ll ever wake out of it
© 2010

indiSYSTEM C-Mount Bracket

indiSYSTEM new tweaked “C” Mount bracket

The indiSYSTEM “C”mount is a built in accessory for the indiSYSTEM ULTRAcompact. It is perfect for attaching accessories like lights, microphones, and recorders. The “C” mount has ¼” threaded and unthreaded holes for attaching various devices vertically or horizontally. Tim Ovel from indiSYSTEM recently made a new improvement to the "C" Mount which makes the bracket easy to setup and breakdown.

In this sequence of photos you can see the new improvements that Tim was able to implement on the new design of the "C" Mount. Now you can take the "L" part of the bracket off by removing just one nut. The other half of the "C" mount can now be permantly locked on the rig. This makes the "C" Mount bracket easy to setup and breakdown for purposes of storage and transport.

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Tracy indiSYSTEM Bulldog ratchet handles test

indiSYSTEM Bulldog Ratchet Handle Strength Test

Tim Ovel and his crew from indiSYSTEM were doing a few shop tests recently and I thought I would share some footage to show the strength and ease of use of the ratchet handles on the indiSYSTEM Bulldog.

Here's a quick show down between Tim and one of his shop assemblers Tracy as they both demonstrate how easy it is to lock and tighten the ratchet handles on the indiSYSTEM Bulldog.

Each person hand tightens the center latch so that the carbon fiber rods don't roll and then lock the other two handles in place. Pretty straight forward stuff. It takes very little torque. No allen wrench necessary just a little arm strength. Tim does a pretty good job but I think Tracy has got it down pat and may have the edge over Tim.

Next, here's a a few pictures of 53 pounds of steel on top of a sheet of Aluminum 6061 riding on top of the handles of the bulldog right after Tracy locked the handles down. It doesn't fall off!

Tim and crew got it up to 83 pounds of steel before if fell over. A little compression force sure goes along way!

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indiMATTEwide2

NEW Matte Box on the Block – indiSYSTEM indiMATTEwide/slide

For indy filmmakers on a tight budget the purchase of a matte box is usually at the very bottom of the list but it is one of the most critical pieces to any filmmakers kit. No matter what kind of lens you have if you do not have a proper matte box you will get the inevitable glare and lens flare in your shot. A good matte box and an adjustable French Flag or eyebrow are basic essentials to controlling the light that enters the lens of your camera and is a filmmaker's best friend when you are looking to get the perfect shot.

Speaking from experience, I can say that I too have left the purchase of a matte box for last simply because a good one costs more than my current DLSR and one of the cheap ones I had purchased during my 35mm adapter days fell a part just after a few shoots. And even after you purchase a good matte box, you still have to get standardized ND filters and rails to mount the matte box so there are additional costs that make it an expensive investment.

Could there be something in the middle ground that doesn't cost a fortune, is light weight, and could give you solid results for the average pro or weekend warrior filmmaker?

Tim Ovel from indiSYSTEM is always trying to fill the gap and his new indiMATTEwide/slide is one of his newest creations that just may fit the bill if you are looking for an affordable wide angle matte box.

The indiMATTEwide/slide is a wide angle matte box and slider designed for the DSLR filmmaker in mind. What makes this matte box unique is that it can be used with rails or just screwed on to the front filter ring of your lens. The prototype that Tim sent me was surprisingly lightweight for such a wide matte box. Both the matte box and French Flag weighed in at just under a pound. The indiMATTEwide is 8 3/4 inches long and 5 1/2 inches wide and the top of the French Flag is 13 3/4 inches long and 5 1/2 inches wide. This matte box is nice and wide and a great match for many of my wide angle lenses including my beefy Canon J8x6B 6-48mm f/1.7 B4 zoom lens.

The wide/slide is made up of two main components, the indiMATTEwide which consists of the matte box and French Flag and the slider mount that allows you to mount the matte box to a set of rails.

Most manufacturers typically have a swing-out mount for your matte box and what Tim has done with the slider is found an inventive way to do without one. With the slider you can slide the mounted matte box forward and back making it pretty easy to change out lenses. The slider mechanism is about 4 1/4 inches long and 1 1/2 inches wide so you have plenty of sliding room to swap out and change your lenses in just a few minutes.

The indiMATTEwide prototype has a nice matte powder coated texture on the interior of the matte box which will also be on the exterior of the production model as well. On the prototype version the textured look is only in the inside. Some may think for such a lightweight matte box it must be made out of cheap plastic but that is far from the truth. The indiMATTEwide/slide is made from ABS PC (Polycarbonate/Acrylonitrile Butadiene Styrene) material. This is the same material used to build wheel covers, small tractor hoods, and non-professional safety helmets. I spent a month playing with the indiMATTEwide before even writing about it just to get a sense of its durability on my shoots. I find the indiMATTEwide akin to being the "Toughskins" of Matteboxes. I've thrown it out my second floor window, dropped it and threw it around set a few times and not a crack. In the shop, Tim had a 300 pound guy stand on the matte box and it did not crack or break.

On features, there were a few choices made on the wide/slide to keep the unit simple to use without much fuss.

The first thing I noticed is that the French Flag has four fixed positions. One position to store the French Flag and to cover the matte box from any dust getting into the lens. The other three positions for controling your light are horizontal, angled, and vertical.  The first matte box I owned had an adjustable spring based hinge on the French Flag and you could move it at any angle but it would not tighten enough and the flag would slowly tip into the field of view. From my initial testing I found the fixed positions very useful and worked really well if you have the wide-slide fixed to your DSLR lens without the use of the slider. You can set it and go and not have to worry about the flag slowly moving into your frame especially when doing handheld work.

Second, instead of standardized filter holders, the indiMATTEwide/slide has a back disc with step ring that fits on the front filter of your DSLR lens.

Here's a picture with the indiiMATTEwide back disc and the Panasonic 14-140mm lens.

The back disc piece attaches to the rear of the matte box with two spring loaded ball clamps.

The ball clamps secure the disc nicely although I'm hoping that on the production model Tim will go for a flatter clamp because the ball clamp can get in a way of securing your lens to the matte box.

Since many DSLR filmmakers are using variable ND filters these days this feature works quite well. I have a 77mm variable Fader ND so Tim was able to get me a 77mm pass through back disc. In the production unit you will have a choice of three different filter sizes to fit your most commonly used lenses. Definitely standardized 4×4 filters are better to use but this solution allows you to use circular filters in front of your matte box keeping the weight down and allowing you to use the matte box without rails.

Down the road, Tim has talked about being able to put a rotating filter holder but there may be vignetting with that option so it may not happen.

One important thing to consider is that any lens where you have a rotating front element you will need to use the slider mount and a set of rails. For obvious reasons you can not clamp the step ring as you pull focus with a rotating front element because the matte box will turn with your lens. I have been playing around a bit for a temporary solution and one way to do it is to fit the circular disc to the matte box but leave it free and unclamped that way you can still pull focus. To prevent rubbing from the matte box you'll have to adjust the riser on the slider.

Another caveat is that if you are using zoom lenses like a Canon B4 lens in order to avoid any vignetting, I removed the back disc and filter and passed it through the matte box.

The front lens diameter of the Canon J8x6B B4 lens is approximately 85mm and I used some of my extra SNAP! Gear "squish" to line the inner opening of the matte box so that no light could penetrate through.

This solution worked fine for me and perhaps with an 82mm pass through and 82mm threaded variable ND filter this would be a non issue but my 77mm ND filter and 77mm back disc ring showed vignetting so doing this solved the problem.

Currently, the indiMATTEwide/slide will sell for $229 which will include the matte box, French Flag, and slider as well as three back discs each with a filter size of your choice. Tim is currently working on the side flags that can be clipped on and off the the matte box and will be sold separately. From my understanding it has the similar fixed 4-position mount as in the French Flag mount.

From my initial testing so far the indiMATTEwide/slide is a pretty simple, solid, no fuss matte box.

  • It's geared for the DSLR shooter on a budget who doesn't want to compromise their shots but who also doesn't need to have to worry about much either.
  • The ability to put a light weight cine matte box on your camera lens with a fixed French Flag is quite useful for me since I'm running around so much I don't want to worry about the possibility of the French Flag falling into frame.
  • The back disc 77mm pass through and my variable ND filter simplifies the mattebox filter system and keeps the weight down for non rail use.
  • The option of using the slider to mount the indiMATTEwide on a set of rails with out a swing-out mount is a good simple choice for ease and functionality.
  • The ABS PC material is pretty strong stuff and it's nice to know that I can have one piece of gear that I don't have to baby and that can take a hit now and then.

Knowing Tim I'm sure they'll be even more imrpovements and I'm looking forward to seeing the production version of the indiMATTEwide/slide after the snow thaws out here in Philadelphia.

indiSYSTEM Bulldog Snow4 Featured

indiSYSTEM Bulldog rig and indiSYSTEM BallGrip- Never leave home without it.

indiSYSTEM Bulldog

No matter how prepared we think we may be when you go out on a shoot you inevitably wish you had brought that extra something often times it's the right filter, a wider lens, or the right rig. In my line of work, as a documentary filmmaker I have to streamline big time and be creative with as very little as possible. What the indiSYSTEM Bulldog does for me is allow me that extra little something to give me a variety of shooting styles in one small light weight rig. I can shoot shouldermount, handheld, or put the rig on a sturdy monopod or tripod. The key here is flexibility and light weight compact durability and that's a big plus with the indiSYSTEM Bulldog. I just don't have the capacity to carry heavy gear with me. If I'm carrying more than my bike messenger bag and a small gear bag then that's too much. I'm on the road and out in public and would rather be a fly on the wall out of sight and out of mind than be caught looking like a lost tourist.

Here's an example of the compact nature of the indiSYSTEM Bulldog. It fits perfectly in a small  12" x 10" x  4" gear bag.

There's even room left over for the GH2 and a small prime lens and follow focus.

I can set up the complete rig or modify it depending on my shooting needs and it takes me about five minutes to put together. I can then pack everything back up in minutes and fit everything in my little bag. Obviously, you'll have to find your own bag indiSYSTEM does not provide this with the Bulldog but it goes to show that the indiSYSTEM Bulldog is an essential part of your shoot and one rig that you won't be leaving behind.

IndiSYSTEM BallGrip

Here are some pictures of how I use the indiSYSTEM BallGrip just so people can get their head around the idea of using this tool. The ball joint is a brilliant idea by Tim Ovel of indiSYSTEM and it really works to help you pull focus while doing handheld shots. This is an example of how one would hold it when using a follow focus.

I use two BallGrips when I want to configure the Bulldog into a Bulldog mini. With this variation I can have something that I can walk around with in a big city or crowd and that gives me the ability to pull focus and the ability to have an extra bit of support on a moving handheld shot.

Here is the setup that I used for a recent test shoot. Since I had pictures of the Bulldog in a warm sunny Southern California beach I thought it would be only appropriate to contrast it in the cold Philadelphia snow fall.

You'll notice the Blue strap in the picture. That does not come with the Bulldog that is a camera strap that I attached to the BallGrip just as a precautionary measure. If you slip focus and let go of the indiSYSTEM BallGrip you'll still be connected and will never drop the rig.

It's important to note that the ideal for this setup to me would be a GH1/GH2 or similiar camera with a small body and a small prime lens or small zoom lens.  The best combo that I have tested so far for just point and shoot hand held work would be the indiSYSTEM Bulldog and BallGrip using the Panasonic GH2 and the Panasonic 20mm lens. For legacy lenses, I find the Contax G 28mm lens with Metabones adapter and SNAP! Gear terrific to use with my GH2 with this setup. I'm still testing with a number of c-mount lenses including the Schneider Variogon 18-90mm zoom pictured above with the GH2. It was a little front heavy and better suited locked to a monopod or tripod because in order to use the lens you have to engage the GH2's extended tele conversion mode and with handheld camera shake it is a bit magnified. I did however have good success using the Bulldog with the very small Angenieux Zoom Type8x8B 8-64mm f/1.9 c-mount lens. It is probably one of the smallest c-mount zoom lenses and I got one to work on the micro 4/3 system. You can get more info about it here: Angenieux 8-64mm lens.

I put together a short piece using the indiSYSTEM Bulldog rig and indiSYSTEM BallGrip and the Panasonic GH2. It's called Aloha Winter.

indiSYSTEM SNAP! Gear Cine Ektar lens

Kodak Cine Ektar II 25mm

I had a rare lull during my lunch break today so I thought it would be a good opportunity to take out my GH1 and to test out how the indiSYSTEM SNAP! Gear and Collar work using the Kodak Ektar II 25mm f/1.4 c-mount lens. It's a very small cine c-mount and with the new SNAP! Gear and Collar you can even pull focus on this little lens.

The footage is basic street scenes near my work in Center City Philadelphia. I wanted to basically test wide open at f/1.4 just to see the lens sharpness and light fall off as well as how well you can pull focus with this system.

I had a 52mm homemade B+W variable ND filter which I was able to use on the lens with a step up ring to help control my exposure.

For those who want to play with this Ektar II 25mm you'll definitely need a 30mm step up ring for this lens

I literally tried several filters to find the right size and after several months and several returns later I lucked out and found out that 30mm is the filter size for this Ektar II 25mm lens. There's no info. on the web at all on this so I had to figure this out on my own. I'll soon post a listing of filters sizes for the c-mount lenses that I currently own to help those who want to try this similar setup with their own c-mount lenses.

I'm very pleased and surprised that you can even pull focus with this little lens. Once you set it up properly the SNAP! Gear and Collar is fairly secure and it really allows you far more control allowing you to achieve repeatable focus pulls.  One thing that I noticed is that it takes about one to two full rotations to actually go from close focus to infinity depending of course where your subject matter is so that's something to consider when using this particular ektar lens. I'd also recommend that you tighten the camera down to whatever plate you are using in order to prevent the camera from moving and your SNAP! Gear from slipping from the follow focus gears.

In general, the Ektar II 25mm has a unique character to it. Sure it has your usual light fall off and c-mount vignetting but it does give you the old school feel. It's corner sharpness is rather so so to me but for those who are looking to use this lens to invoke the nostaligic past that may not be so bad. Again, I was shooting everything completely wide open so that would change of course by stopping down.

I do want to do a few more tests with this lens just to see if the step ring and ND filter is creating that extra light fall off. For a first test I'm really impressed that this could even be a possibiloity. It's not bad. And really, it's so lowprofile and lightweight that it makes it fun to shoot. The fact that we have something like the SNAP! gear and collar to be able to do this fairly economicaly is also quite attractive. You can buy a 70mm SNAP gear and then have a number of SNAP! Collars depending on the lens you are using. I look forward to more c-mount movie makers in m4/3!

Ektar II Snap Gear Demo

NEW indiSYSTEM SNAP! Gear & Collar Demo

I'm wanted to post this quick demo using the new indiSYSTEM SNAP! Gear and Collar on a Kodak Cine Ektar II 25mm f/1.4 c-mount lens. I've been talking with Tim Ovel from indiSYSTEM about creating a geared solution for cine c-mount lenses and the SNAP! collar was a very simple addition to the SNAP! Gear and will work with most c-mount lenses. I gave Tim the front lens diameter of some of my lenses and he constructed a SNAP! collar that would essentially fit into the SNAP! Gear. With the help of some "squish" between the lens and the collar, the setup works very nicely and gives a nice secure geared fit.

This is just a simple demo that I did very late at night so please forgive the uncleaned lens of the footage but I wanted to show folks how the SNAP! Gear and Collar fit on the lens and it's use with a follow focus. Actual footage is currently being edited and will follow shortly.

Overall, pulling focus is very smooth with this system and here are a few key points to consider to use this with your lenses.

Key points for a successful SNAP! Gear and Collar setup:

  1. The space between the SNAP! Collar and your lens should not be more than 7mm. Anything larger does not give you a secure fit. I've done a number of tests and it seems the ideal is to have 2-3mm of space but no larger than 7mm. Again, this space is pre-squish material.
  2. C-mounts with focal rings at the front or middle of the lens work best. Though I have tested a Cine Nikkor 10mm where the focal ring is at the rear of the lens but you have to turn the gear at an angle in order to make it work. Surprisingly it still works well. I'll be doing more testing to see if this technique works on other lenses where the focal ring is at the rear of the lens. Again, this is more for clearance of the gear and the camera.
  3. Take the time to test out the "squish". The best technique is to place "squish" between the lens and the collar first and then compress the SNAP! gear and collar together with the lens. There should not be any play with the lens, if there is some play then you may even need to place a tiny bit of "squish" between the collar and the actual SNAP! gear itself.
  4. Once the SNAP! Gear and Collar is secured to the lens, rotate the SNAP! Gear back and forth making sure that the gear does not slip. You should be able to firmly spin that gear from close focus (MFD) to infinity and back again with no problem.
  5. Make sure you choose lenses that have a smooth focus ring, you may need to find a lens repair guy to overhaul your lens and use a light grease on your focusing helicoid. Lenses with rough focus will force the gear to work harder and with the added torque the lens will unscrew itself from the mount.

I'll be posting some sample footage later this week to show real world usage of the SNAP! Gear and Collar on c-mount lenses. It has been extremely fun to use and with the new Panasonic AG-AF100 micro 4/3 camera just around the corner I think the reality of using c-mount legacy lenses and these SNAP! Gear and Collars will be extraordinary and a must. The exciting thing is that we don't need to wait for that camera we can use it now with the Panasonic GH1. The reality of a digital 16mm world using old school beautiful c-mount lenses is a dream come true.

indiSYSTEM Snap Gear Ektar 25mm

indiSYSTEM SNAP! Gear Collar

Yes! It's true people. I couldn't believe it until I tried it out myself. We have a pretty remarkable solution for pulling focus on a good number of cine c-mount lenses and so far the results have been very solid with the new indiSYSTEM SNAP! Collar. Not for your dog, for your smaller lenses! It's a beautiful thing.

For many c-mount lens users using the m4/3 system can be rewarding but a little challenging. The issues of the smaller image circle for m4/3 use and vignetting make it not ideal by many but there's a lot to be said about the character of these lenses. I think they are still worthy of being used especially for still photography but also for movie making. One of the hurdles of using these lenses to make movies with a camera like the GH1 is that it is so difficult to pull focus because the lenses are small making it impossible for subtle focus changes. When you have a smaller c-mount lens on this camera any slight movement focusing your lens will show up on screen and effect your image in a very big way.

SNAP! Gear with Collar and GH1

That's why currently the main folks who use c-mount lenses with the m4/3 system are still photography folks because they can live with the focusing annoyances while still getting some pretty amazing images out of these little lenses. But most of these c-mount lenses were made to shoot moving images and I'm happy to say we may be breathing a bit of movie life into these old film lenses once again.

Tim Ovel from indiSYSTEM has come up with a pretty darn good solution for those who want to pull focus with a gear and a follow focus using cine c-mount lenses with his new SNAP! Gear Collar. The piece fits on the lens like a collar and is slipped on and secured to a 70mm SNAP! gear. It's that simple. Once SNAP! gear snaps together, It's not going anywhere. The magnets are super strong. I tested this several times by rotating the gear back and forth by hand pretty strongly and the gear stays on nice and strong.

Part of this solution came out of some tests that I was doing with the SNAP! gear. Over all, I've been pretty impressed with the SNAP! gears and I was brainstorming with Tim on how the SNAP! gear can be modified to accept smaller lenses. Ideally, it would be great to get some smaller SNAP! gear sizes from the 35mm to 50mm range but it would be fairly expensive so Tim came up with a few alternative solutions. In our first test, Tim sent me some very sturdy foam and I tried to cut out and create an insert between the 70mm gear and the lenses but it did not work. The foam did not have any center support and the lens would basically slip out from the gear whenever I pulled focus. Then Tim had a great idea of creating smaller diameter slips or collars that would essential fit snugly between a SNAP! 70mm gear and the lens being used. He created a few samples in the shop and sent a few out to me. I tried it and was really blown away. It securely slipped into the 70mm SNAP! and like a dog collar securely fit around the lens with a very snug secure fit. We had ourselves a winner!

SNAP opened showing collar interior with GH1

Side View SNAP! Gear and Collar with GH1

 

SNAP!  Gear half on GH1

 

The pictures in this post demonstrate the use of the collar with Kodak Cine Ektar lenses. Theses are older 16mm lenses that were made by Kodak and used on their Cine-Kodak Special II between 1948 and 1961. From talking to folks like Steve Serota and others who grew up with these lenses, the Cine Ektars were some of the best c-mount lenses made in the U.S. for 16mm film cameras. These lenses have more recently been growing in popularity with the m4/3 system because they are one of the best lenses to focus with for still camera use. Also, on the Ektar 25mm 1.4 and even smaller Ektar II 25mm 1.4 the focus ring is on the very front of the lens which is ideal for using the SNAP! collar.

SNAP! Gear & Collar with Ektar 25 to 15mm converterCloseup of SNAP! magnet and squishSNAP! Gear with Ektar 25mm with 15mm converter

Here's some brief tips using the SNAP! Collar with the 70mm SNAP! Gear

Ektar 15mm converter on SNAP! GearSNAP! Close up of Ektar 15mm converter

1) Make sure you chose a collar that allows no more than 7mm of space between the collar and the lens you intend to use. To fill the gap between the lens and the collar Tim provides you with 5mm and 1mm "squish" which is like a spongy tape with sticky adhesive on one side. The squish fits on the inside collar to hold your lens in place. In my tests, a space between 7mm and smaller gives the best secure feel for your lens. You can place two strips of 5mm squish on top of each other but from my tests it's much better if you don't.

SNAP! and collar with "squish"

 

2) Place a 1mm strip of squish on the inside of the 70mm gear where the collar slips into the SNAP! gear if you find the collar more snug. When you snap the gear together the collar should feel a tiny bit larger and when you squish the gear together you'll see the magnets engage and the squish will compress and tighten the collar and your lens.

SNAP! and Collar layout

3) This is all based on trail and error depending on your lens and the collar size. Always start placing the squish on the inside collar first and place the collar over the lens and see if it fits your lens properly then slip the collar into the 70mm gear. If it's loose then put some 1mm squish on the inside of the 70mm gear. If it's too tight you can trim the squish down with a fine pair of scissors.

Twist Test SNAP gear and Ektar 25mm 1.4

 

4) When you have the SNAP! gear and collar on your c-mount lens before you place it on your camera make sure that you do the twist test. Turn the gear firmly back and forth to make sure the gear is aligned properly and is nice and snug and secure. You should do it fairly firm and fast holding the lens in your hand and rotating the gear. If it is secure then that gear will not move. It should not slip or move from your lens. If you do see a problem that then you need a little extra squish.

 

Ektar 25mm 1.4 with GH1Ektar 24mm 1.4 with SNAP! Gear and Collar on GH1

The ideal lenses to use are lenses that have a focus ring on the front of the lens because the SNAP! gear must clear the GH1 body but there are some lenses that will still work where the focal ring rests on the middle of the lens. So far the Kodak Cine Ektars are a great fit but some other lenses work very well too including the Computar 25mm f/1.3 and Yvar 75mm f/2.5 lens. One zoom lens that works perfectly that I was not expecting to work was the Angenieux Zoom Type L2 and Type L3 1:2.2/17-68. I wasn't expecting this lens to work because the lens rotates far forward but the extra width of the SNAP! gear give enough room togo from MFT to infinity. Iit was made for this lens and works beautifully.

I'll be posting footage and a demo soon. My computer was out of commission this weekend so I am a bit delayed but for now enjoy these pics. Trust me it works.

These are definitely exciting times to see these old lenses being used in this way. I think the indiSYSTEM SNAP! gear and collar can be exciting for filmmakers who want to use c-mounts and other small lenses and I think for still photographers may also think about using the SNAP! gear and collar by itself because it is far easier to focus with the larger wheel than off the lens. There's a little more torque and you have much more control over focusing just using the gear as without a follow focus. It really works well and helps make focusing smooth and easy with these c-mount lenses for the very first time.

indiSYSTEM SNAP! Gear MP Schneider Variogon

indiSYSTEM SNAP! Gear – Schneider Variogon c-mount zoom

As those of you know once you get your lenses and your new DSLR you’ll find that manually focusing by hand is fine in the beginning but when you want to push your work to more professional results it’s best to use a follow focus and focus gears on your lenses in order to have the ability for more precise focus, the ability to rack focus, and to lessen camera lens shake on your footage.

Tim Ovel and his team at indiSYSTEM have been hard at work again this time on their new SNAP! gear.

This new design is a very nice upgrade to their previous focus gear rings. What makes indiSYSTEM’s new design quite unique is that their focus gear is split in two halves and connected together with super strong magnets.What this allows is the ability to place the SNAP! gear ring on your lens and then remove it in a snap.

Snap! gears are sold in a set with five different gear sizes to cover most of your lenses:

70mm / 75mm / 80mm / 85mm / 90mm

At only $100 bucks for these set of five gears it's a pretty sweet deal. And for those who need just one you can purchase the 70mm for $30 each.

Each set of SNAP! gears comes with “squish” as Tim likes to call it, or thin self-adhesive foam.

The squish looks like poly foam weather seal tape that you use for weather stripping your home. It rests between your lenses and the focus gear and does a good job of making up the difference if your lens diameter is a few mm smaller than the focus gear. In my case, I tested the 70mm with my Schneider 1:2/18-90 c-mount and the lens diameter was 65mm so I had to make up the difference by doubling the squish.

In my initial tests the adhesive just wasn’t strong enough so Tim is sending some thicker “squish” and I look forward to using it and seeing if it will show better results. In the mean time, I doubled up on the squish that was already sent to me and secured it using some gorilla glue and and now the SNAP! gear fits nice and snug on my lens with no play between the lens and the SNAP! gear.

Here are just a few initial impressions so far.

(+)

  • You gotta love the "snap" the magnets make. They are surprisingly super strong.  Once you have the proper squish, you literally snap the gear on and your ready to go in seconds.
  • One SNAP! gear can be used with your full set of lenses if they each share the same outside lens diameter.
  • With magnets and squish, no need to worry about the stress of tightening up your gears with Allen wrenches and leaving marks on your lenses.
  • I found the ½ inch wide gear great giving you plenty of grip using the MP's indiFOCUS20.
  • $100 for a set of five gears (70mm/75mm/80mm/85mm/90mm) is a great deal and covers most of your lenses.

(-)

  • Don’t place your hard drive or SD cards near the magnets for obvious reasons.
  • The current adhesive when placing squish on top of each other is not the strongest so you lose the stickiness on the adhesive and need to use something strong like gorilla glue to keep it together. (Will wait on the new "squish" adhesive hopefully that should solve it.)

(>)

  • 70mm is the  smallest size gear so currently you need some hefty squish to make up the difference with smaller lenses. It would be nice to have smaller gear sizes especially for my Canon FDs and c-mount lenses but it sounds like 70m is currently the smallest gear size that indiSYSTEM is offering.

Here is an initial test with the SNAP! gear and indiRAILSpro MP using my GH1 and Schneider 1:2/18-90 c-mount lens.

The first test was doing a rack focus test with theatrical lighting after a poetry event at the Asian Arts Initiative. I'm shooting with a c-mount zoom so there is typically a smaller image circle and also some vignetting. The lens is still pretty sharp and has a lot of character and it pairs nicely with the SNAP! gear and indiFOCUS20.

Ocean

MP and Schneider c-mount zoom lens

Before "goin' down to the Shore" as the say here in Philly, Tim Ovel from Studio4 Productions was kind enough to send me a few goodies to test out. One of which is the their new indiRAILSpro MP, which I took with me to Ocean City, NJ for a little test run.The new indiRailspro MP combines the best features of a shoulder mount system, the ability to go hand-held, and has a built in follow focus to boot. It's lightweight, lowprofile, and flexibility is perfectly designed for the event shooter or anyone who needs the ability to stabilize their DSLR and use manual prime or zoom lenses and be on the move in an instant.

The MP consists of a Velbon RUP-40 monopod with a Giottos MH-652 compact quick release assembly and MH-642 plate which mounts to a top mounting stabilizing bracket. The monopod can be quickly attached and removed with the Giottos quick release assembly which is an added plus for quick setup, break down, and storage. On the bracket you have the ability to adjust the monopod, camera, and shoulder pad length as desired. An additional Giottos MH-652/642 quick release plate is where your DSLR mounts and you can slide your camera along the bracket's adjusting slot to set your camera and lens for proper follow focus use. Unfortunately, the slot was not long enough for me to use the GH1's 14-140 stock lens with the MP's follow focus. Tim will be sending me out a new bracket with a longer slot for me to test soon. In the meantime, I decided to test out another c-mount lens that I recently just got back from being overhauled, a Schneider-Kreuznach Variogon 1:2/18-90 C-Mount zoom lens which I will talk about in detail later.

I wasn't able to use the follow focus on the MP with the Schneider so instead I wanted to simply focus on the MP's ability to be used as a DSLR stabilizer. Because the Schneider c-mount lens does not have a large enough image circle to fill the sensor, the GH1 must have digital 2x zoom engaged in order to get full use of the lens though out the zoom range and to fill the image sensor with out the "peep hole effect". Doing this however, means that any slight camera movement in higher focal ranges will create a heck of a lot of camera shake.

And this is where the MP comes in. I wanted to use my Schneider c-mount lens but I was on vacation and didn't want to drag an additional tripod with me. The MP was a perfect fit in this department because I could split up the MP with the Velbon monopod in my day bag weighting less than a pound and the stabilizing bracket (less than 2 pounds) in my camera bag.

Without the follow focus, you can be ready to go in 5 seconds, the MP's combination of monopod and shoulder mount bracket allows for enough stabilization so I can get fairly steady shots with my Schneider lens even with the 2x zoom engaged on the GH1. If I didn't have the MP, it would literally be camera shake city. Don't get me wrong, this is no substitute for a good tripod for rock solid shots, you will always see some movement and sway but when using the Schneider lens at the lower focal ranges like 18-30 (which is doubled with the 2x zoom factor to 36-60) and by keeping that camera nice and steady you reduce camera shake and can capture some really nice steady footage. The big advantage with the MP is quick mobility combined with stability.

The footage I captured was nothing special, just a few shots of our day at the beach with friends. Two big challenges with shooting with the GH1, aside from the sand and wind whipping around, the GH1 camera mics are absolutely atrocious and unusable in windy situations. Number two, in bright outdoor beach type settings, it is literally impossible to get an accurate reading on focus and exposure with the flip out LCD. I didn't have a hoodman on me so through out the footage you'll see the exposure settings change that is not the camera it's me trying to play with my Variable ND filter because I couldn't see the screen.

Again, the GH1 audio was simply unusable being a windy day so the visuals are accompanied with a live version of Dar William's song "The Ocean". Here is a quick test of the indiRAILSpro MP (no follow focus) with the Schneider Variogon 1:2/18-90 in c-mount. The footage was captured at 720/60p and converted to 24p using NeoScene.

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