Don't feel bad, Josh. Charles and Justin have just given us a peek at the world of professional cinematography. Like most complex professional endeavors, the interior reality of film/video production is choked with far more specialties, collaborations and rituals (as process safeguards) than are visible to us outsiders. We see the final product and imagine that we might be able to reproduce that result with a decent prosumer camera, a concept and some time. Then we wonder why our results don't "look like film". Well, gee, we *only* skipped (Charles') steps 3-15!

Yes, but it still doesn't fit in with my plan of taking over the world with a DV camera and one-man crew.

Wow, that was an education.

A few questions come to mind now that I know what a follow focus is.
I am assuming that you will need a good TFT for the focus puller? Any suggestions for a good, sharp TFT. My Varizoom is good but it's not the sharpest display out there I imagine, also the colors seem to be off some. Any Suggestions?

Also, any "affordable" follow focus set-ups available for the XL1. I've seen some out there on 16mm sites that go for well over 2 grand a pop! That's pricey territory.

Last question. Since I probably cannot afford a follow focus just yet, is upgrading to the black and white viewfinder for the XL1 worthwhile. Do you get a sharper/truer image than on the color viewfinder?

Gracias-

Ford Minton
DV gearwhore

Ford,
Regarding the b&w viewfinder...

Yes, it is far sharper and easier to use for critical focus than the XL1s' standard color lcd. Whether or not it's worth the investment is something only you can decide. I use the color viewfinder for casual outdoor shooting and the b&w for staged shooting.

Josh, yeah, I gave up on single handedly taking over the world with a DV cam a while ago. It's nice to work with talented and dedicated crew.

When pulling focus, you generally look at your focus dial and the subject(s) you're trying to focus on. On the white dial you mark your focus points relating to the actors marks with a grease pencil.

Watching a TFT monitor would be only good to check focus, but not to find focus. It's much easier to focus with specific marks. You don't need a TFT. Plus, when you do a dolly shot you can move the dial (being able to see the distance between 1st dolly (start) and 2nd dolly (stop) in relation to the position of the dolly. When the dolly is halfway to its second mark than you should be around half way between your marks on the dial.

When actors move around and the camera is on a jib and or on a dolly things can get complicated. A puller will be going back and forth on the dial. As Charles pointed out it's very "Zen" because good pullers will compensate for actor changes by knowing where to put the dial because they have already reference marks on the dial.

Here's a pic from a shoot I had yesterday.

http://www.monsterrocket.com/mini35/onset.jpg

The white disc by the lens is the focus system and is geared to the gears on the lens.

The "cord" extending from the dial is the "whip" that Charles mentioned. That allows the puller to rotate the dial without interfering with the camera as it moves.

Ken, and I'm nowhere near the pro that Charles is. Charles, I saw your appearance on the Scrubs teaser! Very goofy! I've got to see this weeks show to see where THAT fits in... well, almost anything goes on Scrubs.

How does a focus puller "mark" his settings, tape, china marker, are there tabs on the lense for this? I know you measure with a measuring tape, and tape marks on the ground for the talent etc, but what about onboard. Am just wondering how it all comes together?

thx-

Ford Minton
Dv Gearwhore

Usually the 1st AC marks his dial with an erasable marker or a sharpie depending on preference--the former can be easily wiped off, but that can be the problem (the sharpie comes off with Pantone or similar alcohol-based product). Sometimes they pull off the lens, and will use tiny triangles made out of tape to mark the lens directly.

What's interesting to watch is the type of shot where the actor is far away walking towards camera, shot on a long focal length. Here it is very difficult for the assistant to judge distance, so he/she will have their second assistant put tape marks along the way and mark the lens at those points--the 2nd assistant then walks parallel with with the actor (out of frame, of course) and calls out over a walkie as each mark is passed. It's up to the 1st AC to successfully dial in the correct speed between marks so that the inbetween focus is consistent.

Pulling focus is a skill learned after much, much practice. I have had the pleasure and honor of working with 20-year veterans of the craft, and have witnessed some truly astonishing focus pulls.

Actually, there are some unsung heroes in the camera world who are able to do just this AND operate the camera themselves--these are the cameramen for NFL films, who work from the sidelines with impossibly long lenses on 16mm handheld rigs, and manage to perfectly frame slow motion footage of a football coming straight at the camera, with the stitches as crisp and sharp as can be the whole way. I'm not even a football fan but I have watched when I come across their work on TV because I'm in awe of what they can pull off (so to speak).

Justin, baby! Checked out your still, looks cool--but no B&W viewfinder?! Must be brutal trying to judge focus with the 35mm system!

Charles, it comes down to B&W viewfinder and a dedicated "grip" van. Right now the budget doesn't work for both. As much as l'd like to have my cake and eat it to...

I due time I guess.

I have had good success with focus from the VF though.

Does anyone have a Cavision follow focus?
(http://www.cavision.com/follow_focusing.htm)

I'm thinking about buying one. Thanks!

OK Folks here's the deal. I am currently shooting with a Canon XL1s. I would love to find an inexpensive Matte Box, rods and a follow focus assembly that doesn't cost the same as the camera itself. I see there are a number of them available but at a premium. Any suggestions?

CAVision (http://www.cavision.com/) comes to mind. None are cheap.

I am also looking into getting a follow focus, along with a 4x4 matte box. I own the 14x lense. Im definately curious to hear from someone who owns one.

stephen

I did a search but there doesn't seem to be any threads on
the follow focus system but only on the mattebox. I hope
someone tunes in, otherwise you might be the first to really
test it out...

Stephen, I am selling a Cavision 4x4 mattebox in the classified section if you are interested. I am very satisfied with it, built very well, I just dont need it...

Chris

Chris, did you end up selling your cavision matte box? thx

yes, sorry, it has sold.

Before even begining to think about following focus, you're going to need a manual lens with a witness marked, calibrated focus barrel that stops at both ends of the focus range. I have found it almost impossible to FF with any of the auto lenses as they are electronic as opposed to manual.

Chrosziel makes some very impressive camera accessories, not only for the prosumer market but for the professional market as well.

Stay Sharp..RB