Magiqcam footage

[Klosse Wistbacka]

Hello people!

I'd like to see some footage done with the magiqcam rig by a talented operator. Anyone up for the challenge or does anyone know where such material could be found?

Thanks,

Klosse

[Terry Thompson]

Klosse

I don't know if you saw the Magiqcam demo but here is the web page.

http://www.magiqcam.com/demopage.html

I'm sure there are better examples of how well this works but I thought I would at least let you know about their own demo just in case.

What camera will you be using?

[Klosse Wistbacka]

Hello!

Yeah I've checket out that one.. But somehow I don't really find it all too impressing.. I'd like to see something that would take my breath away.. Just to feel better about myself for putting out the $2000 (which I know isn't much money for this kind of equipment, but still... ).

I wil be using the DVX-100A mostly. I'm also wondering if it will fly the Aaton A-minima.. Anyone tried this?


Thanks,

Klosse

[Charles Papert]

Klosse:

I have demoed the Magiqcam, and I feel comfortable in suggesting that it is on par with the other stabilizers in that price range and slightly above.

I don't have any footage shot with that rig to show you, but I would estimate that I could have achieved the footage on my demo reel with perhaps a 70% relative accuracy if I had used this rig vs my gear (which cost at least 50 times more). Hope that helps.

The DVX should work fine, although I think that adding a few pounds of weight to the camera (via accessories or a steel baseplate) would make it more stable. And the a-Minima would be fine also; the only caveat there is the side-to-side displacement of the film which would subtly alter your balance from the beginning to the end of a take.

[Terry Thompson]

I can bet that most of the less expensive stabilizers would look good with someone like Charles operating it. Like the saying goes...you can give someone a Steinway but that doesn't mean that they can play a concert. On the other hand, you can give an inexpensive stabilizer system to a professional and the footage will still look good (providing the stabilizer is half decent).

By the way Charles, I just returned from CES in Las Vegas where I wore and used my Indicam system for three days-seven hours each day-honest. I weighted it down a bit more with some extra weights and adjusted the gimbal on the post accordingly. With the new gimbal we made, the footage looked very good. I have learned a lot about gimbals and bearings etc. from this project. Boy there is still a lot more to learn.

I'm trying to figure out how to get some of my CES footage on this site in order for you and others to do that "critic thing". I can take it. Any suggestions as to codecs? I have Vegas Video 4 and am reading on this site about how to set up my output for the best results in quality and file size. I would love for it to stream like I have seen other clips do.

I'm looking into going to the Videomaker Expo in Pasadena next month (Feb). Are you anywhere near, Charles? If you are I could come by and let you check out my system for inclusion in your video. I think you might like it!

Terry

[Charles Papert]

I'm not far from Pasadena, Terry. I'm sure we can work something out. I may even pop by the Expo to see what's up (I hear it's pretty small though). I'd like to see your setup.

[Leigh Wanstead]

<<<-- Originally posted by Charles Papert : Klosse:

I don't have any footage shot with that rig to show you, but I would estimate that I could have achieved the footage on my demo reel with perhaps a 70% relative accuracy if I had used this rig vs my gear (which cost at least 50 times more). Hope that helps.
-->>>

Hi Charles,

May I ask what is in your US$100,000 steadicam package? Just curious. 8)

Regards
Leigh

[Charles King]

I'll answer that for him, Charles P. Leigh, Charles P. is a steadicam operator and his package includes(correct me if I'm wrong CP) Back-mounted vest by Klassen, Pro rig setup, including the pro arm, and many accessories that will make your mouth water just looking at it. His set-up cost more than 100,000 dollars. So, we're not talking pocket change. ;)

[Charles Papert]

Yes indeed, that's what I do own!

Charles K., I'm about to swap out the base of my Pro 1 for a MK-V Nexxus base, so that I can use Anton Bauers and be able to configure the system for 24v film cameras (TB6 and 3 batts) all the way down to a DV setup (LCD monitor and single battery). Looking forward to moving away from the PRO chocolate bar batteries into something more standard also.

I've been seeing more video work of late, so this also gives me the opportunity to use the onsite batteries and save mine. For instance, I did some days on the currently-airing "Sports Illustrated Swimsuit Model Search" TV show; they had a zillion of the big Hytron batteries and I simply used one of theirs on a borrowed PRO Lite. Saved weight and didn't have to put my batteries through unnecessary use.

[Leigh Wanstead]

Hi Charles Papert, Charles King,

Thanks for the information

Regards
Leigh

[Charles King]

No problem Leigh.Hey CP, Have you tried the new Alien yet? I would guess that now that you are getting the MK-v nexxus you would definately take advantage of it and it's new optonal ability.

BTW, it seems Howard' products have gain the number one spot of the stabilizer industry. I guess the title has been shifted ;) I met Howard about 2 years ao at the trade show in Amsterdam and he was a great guy to talk to.

[Charles Papert]

Hi Charles:

I'm not getting the whole Nexxus, just the base. I'm keeping the 1.5" Pro post and everything above it for now. I've avoided spending any more $ on the rig in recent years (except for the Klaussen harness), and this is really addressing the functional need I have right now vs total performance. Howard's gimbal is really, really nice and the 2" posts are definitely taking over in popularity, but I'm keeping the equipment purchases on the d.l. as much as possible as I'm DP'ing and directing more now.

Yes, I have tried the Alien, a few times. It's a really interesting piece of gear, very different to operate and would have quite a learning curve. For other readers of this thread, the Alien allows the rig to be rotated sideways while keeping the camera and monitor leveled, meaning you can fly horizontally, or flip the rig from high to low mode during a shot!

I'm not moving my rig towards a Nexus for future integration, it's just that I like that battery management system the best out of everything out there. Greg Bubb's Ultimate rig is pretty popular too. I would say that it's a fairly split race these days in terms of which rig is the #1.

[Charles King]

Thanks for the info CP. One thing though. When will we mere mortals get to see this famous and talked about Alien?

BTW, I'll be getting my carbon 1,5" post which can extend at least 1,9m. Together with that, a brand new machined gimbal. Now, I just waiting for my machinist to finish my arm. I can send you the rough CAD draeing and some pics if you like.

[Klosse Wistbacka]

Hello,

Thanks for all the info everyone!
I'm placing an order for a magiqcam ;)

Charles P.: Your reel is ofcourse very impressing :) How did you do that one shot on Buffy the vampire slayer where you fly over that fence (without hitting the fence with the monitor)? Now that's cool. Also doing the stuff you do without casting "rig-shadows" on the talent and set is quite impressing and is very enjoyable to watch. Do you as an operator have the DP light the scenes in a special way so that you can move around freely or do you simply adapt to the way a set is lit, as in avoiding being at certain spots at certain times and so on?


-Klosse

[Charles Papert]

Klosse:

Some very perceptive questions.

The shot from "Buffy" was something I came up with that day. We were shooting on the Universal back lot, on the New York street set, which had numerous stairwells that led down to basement apartments. I thought it would be interesting to start down one of those stairwells and move up to meet the actor as we crossed the street together. I also saw that by being panned slightly to the left as I came up the stairs, it would appear that I would be flying over the railing when in fact the lens simply scraped past the side of it.

As far as avoiding shadows, that is always a concern. Generally, once the shot is designed in rehearsal the DP will be lighting with that move in mind and I will be "walking the set" to make sure that there aren't any unforeseen problems such as shadows and reflections. Sometimes it is unavoidable that the camera has to pass by a light source that would shadow the actor; in those circumstances, a special flag or silk is set for the exact moment that will obscure the shadow. To be a good operator is to anticipate these sort of things with the stand-ins so that once the actors return to the set, you don't have to keep them waiting while you solve the problem. Of course, sometimes the action will evolve so that this is unavoidable.

The real trick, and this is something that I recomment to you and all other rigflyers, is to walk the shot WITHOUT THE CAMERA, keeping a sharp eye out for "bogies" (undesirable elements in the shot). This way you can pick up on things that won't be evident on the little LCD monitor, especially once you are wearing the rig. Be aware of where the lights are and what to look for, and stop the actors or stand-ins at critical points to make sure that your shadow is not playing across them. If there is going to be a boom man or safety grip or camera assistant or (especially!) director walking alongside you, do a rehearsal with the whole troops in position to make sure that no-one else is throwing shadows also. Don't let yourself get rushed into putting the rig up for rehearals before everything is ready! You'll waste valuable energy, and likely miss the aforementioned bogeys.