How to shoot a long steadycam take w/XL2
 

Hi!

I'm very new to film making and I need some basic suggestions about how to set up my XL2 to shoot a long take with a steadycam.

The light conditions can vary during the shot, but not extremely (it's all shot in open air).

I'm worried about focus and over/underexposures.

Should I use the "green" setting of the camera and concentrate on the picture or is there any simple tweaking that even a novice could handle in real time in the semi-automatic modes?

P.S. I've already tried a long shot following my grandson running in a park, I've used the green setting and all was Ok, there were no focus/light changes problems. Only, I don't know if this is the best picture I can get from the XL2.

Hi Gabriele,

I wouldn't use the Green Box (easy recording) mode if I were you... instead, try the "A" Automatic program mode. The XL2 provides a very good balance of exposure and shutter speed in this mode and I think you'll be pleased with the results.

For someone who is new to filmmaking, this is an opportunity to learn good technique from the get-go. That means avoiding anything 'auto' whenever and wherever possible.
Since it's a Steadicam shot, you will want your lens at it's widest setting (5.4mm). At this lens setting, if this is an outdoor, daylight shot, focus will not be an issue, unless there is an extreme closeup involved somewhere in the shot. Determine the nearest and farthest objects in the shot that you want in focus, then lock the lens focus at 2/3rds of that distance.
Walk through the shot and find the points where the light is brightest and darkest. Again, if it's an all daylight shot, there won't be that much variation. Lock your f-stop at the average. Nothing gives away an amateur like an f-stop or shutter change when a shadow passes.
Be sure to turn the image stabilizer OFF--you'll never learn good Steadicam with it on.
And you might try a polarizing filter and see if you like the effect.
That's my 2-cents worth.

Thanx for your replies!
Very different ones, though... Dan, do you mean to set the camera to full manual? I'm going to use the Canon 3x Wide Angle.

I'd agree that for learning it should be off, but when you're doing a shot for real, I'd say anything you can turn on without degrading the image that pulls off the look is all for the better.

In terms of learning, OIS is definetly evil, especially at Canon's levels, but in the end it's the quality of the shot that counts.

Dan's advice was absolutely perfect. Way to go, man.

Thanks for the post,

Stephanie

Yes, I recommend shooting full manual, always. But that's just me.

Whatever you feel comfortable with. If you learn to shoot well in full manual mode, you can still use auto settings whenever you like, but the reverse is not true: if you rely on auto settings, you'll never be able to wean yourself off them.

Also, if you learn to shoot well in full manual mode, you'll never WANT to use auto settings!

Tom:
I don't know the Canon optical stabilization method exactly, but stabilizers often DO degrade the image--it's necessary in order to obtain the needed error information to correct the image. Maybe it's very slight, but I don't think the trade-off is worth it. It's really not that hard to get a smooth shot without the built-in stabilizer. Just takes practice and patience.

Hi all,

When I got my first network camera job, my partner, who was assigned to teach me the ways of network shooting was absolutely horrified when he got to the camera before me and found the iris setting to be in AUTO.

It was hard to convince him that I was only using AUTO iris to try and learn the iris setting that THE CAMERA thought was correct. I would always then take that setting and make my individual adjustments. But once I put the cam back in the locker with the iris setting accidently set in the AUTO mode. I will NEVER forget the "lecture" I received as a result. Whew!!!!

Best to you all,

Stephanie

It's always easy for a pro to recommend full manual to a newbie. I think some professionals do this because they may have forgotten what it's like to be a newbie. A professional shooter who knows what he or she is doing can get a great looking image all the time with full manual control. Hand the same camera to me, however, and I'll show you how to get an awful image in full manual. Advising a student to learn by shooting in full manual is fine, because a student learns a lot from mistakes. But we're not talking about a student here.

Instead, we're talking about a newcomer to video who wants to attempt a kind of shot that's relatively difficult for an inexperienced shooter, and that type of shot is a long take on a stabilizer. The obvious goal is to produce watchable video. If this person has to face the challenges already presented by this type of shot *plus* operate the camera in full manual mode, then as a beginner he is probably not going to get watchable video. I stand by my assertion that in his particular case, Program AE is the better way to go. Most of his attention will be rightfully consumed by composing the shot while moving. He has to frame the shot while he's in motion, without bumping into anything. That's not easy for a beginner... it certainly isn't easy for me. To complicate this shot by asking me to also adjust exposure and focus manually on the fly would most likely to cause me to (at best) blow the take, or (at worst) take a tumble, or both. A pro could probably do it in his or her sleep, but I sure couldn't.

The various program modes are on the camera for a reason. I always advise beginners to concentrate first on proper shot composition. To me, learning how to frame the shot is a much more immediate priority over manual camera control. Program AE does a fine job with the image while a beginner is learning how to put the shot together. I also disagree with the notion that newbies are never weaned off of Auto. If they're curious about videography and want to learn more, then they'll wean themselves when the time is right.

Regarding image stabilisation, the electronic flavor has had a reputation for taking a hit in image quality. However, the Canon XL series IS lenses employ Optical Image Stabilisation technology, a big feature of which is that Optical IS does not degrade the image. That's one of the key selling points of OIS.

Chris,
As I said, this shot probably does *not* require adjustment of focus or exposure during the shot. The operator only has to frame and walk. If it's a daytime shot (f16+) with the wide angle lens, you could rack the focus nearly stop to stop anyhow and not see it in the image. And you don't want to start out entertaining the notion that you can (or would want to) adjust f-stop (manually or automatically) during a shot. Not something a filmmaker (especially a newbie) should be doing.
I'm an advocate of diving right into the deep end and taking the challenge. If Gabriele nails the first take--what an accomplishment! If not, hey, it's video--review the take--if it's no good and seems overwhelming, then start turning auto features on.

P.S. Thanks for implying that I'm a pro! Cool.

Well heck, Dan, you built your own camera... you're not exactly a newbie!

Yeah but unless I find a distributor, it could all be judged a vanity project...

Gabriele,
Please let us know what you decide to do, and how it turns out.

Gabriele, would you share with us a bit about the shot you are planning and what Steadicam type rig you are using?

"And you don't want to start out entertaining the notion that you can (or would want to) adjust f-stop (manually or automatically) during a shot. Not something a filmmaker (especially a newbie) should be doing."

This may or not get me thrown off, but are we here to coodle newbies, or actually teach them something. I would think they MIGHT actually be interested in acquiring the knowledge they are requesting.

Sincerely,

Stephanie Wilson

Oh, it won't get you thrown off, but please answer this sincerely... which of the following methods will most likely result in a newbie producing watchable video while attempting the walking shot described above?

A.) Juggle all of the camera controls, focus, exposure, etc. while simultaneously composing a dynamic shot with a moving subject *and* a moving camera.

B.) Let the camera handle AF and AE, and let the shooter concentrate instead on proper shot composition.

My money is on option B. I'll bet that method will be the one most likely to produce watchable results. People of all backgrounds come here to learn, but this isn't about your fondly remembered college days at film school. It's all about producing watchable video. And it's also about priorities and the order in which things should be learned.

Let's say for the sake of argument that this *is* an online film school. What would you teach first. Would it be more important to start the curriculum off with the basics of manual exposure and shutter speed selection, or would you begin with teaching how to put a shot together and the proper elements of framing and composition?

I earned my degree at one of the best film schools in the country, UT Austin, and the order in which things were taught was that composition and framing come first, *then* you learn how a camera works.

When it comes to newbies and cameras, the camera can't help a beginner with shot composition and framing. The camera can't decide what to point at (yet). However the camera does a decent job of evaluating what it is pointed at, and the camera knows how to handle the basics of exposure and shutter speed while the newbie learns how to put a shot together. This process doesn't work in reverse. A camera can help what it sees, but it can't help where it's pointed. Framing is a more important priority over manual camera control. A beginner who puts the camera in Auto and concentrates on learning proper framing and composition *first* will be a beginner producing watchable video. This person will most likely want to learn more. This person will go on to graduate to full manual camera control.

The person who tries to learn everything all at once is most likely not going to produce watchable video, and worse, will most likely give up in disgust. This isn't school and you can't make 'em come to class. However you can help them produce watchable video and induce the beginners to want to learn more by having them focus on the more important priorities of how to properly put together a shot and how to create the frame. During this critical learning phase, let the camera handle the grunt work. The beginner who first achieves the fundamentals of composition will go on from there to take over manual exposure and shutter speed control when they're ready for it. You stand a much better chance of keeping a person interested in their camera if you show them first how to create watchable video with it. Program AE and AF modes allow that to happen while the first step of learning how to properly frame a shot takes place.

Charles,

The shot is for a documentary about an old discoteque that is going to be demolished.

I need to follow the former caretaker walking around this location, in the daylight.

I have the choice to use a steadycam (Glidecam 4000 Pro) or not, it's possible that for the kind of result I need the second option will suit better.
It should look like a "trip into a nightmare"... I know it sounds odd but that old club is something really scaring

I have a XL2 with a 7" Nebtek display, stock lenses + Canon wide angle, polarizer filter

Stephanie, speaking as a 'newbie', not everyone here wants to put in the time to be a Charles Papert level camera operator, but a few pointers are helpful. Others here do want to learn it all.

You and Dan are obviously of the "full immersion" school which works for some people if they are going to be shooting regularly and are trying to significantly improve their camera operation technique. Dan provided the input this type of 'newbie' would be looking for. Chris provided the info needed for a newbie just trying to get the shot right at his/her current skill level. Gabriele never indicated what her level of expertise was.

Chris, I appreciate your opinion concerning the prioritization of basic shot tasks. I'll be in column B for a long while and may never graduate to option A.

Dan, thanks for a good description of the technique you use and the confidence that any of us 'newbies' can achieve it if we practice long enough. I think you underestimate how proficient you've become as the thought of full manual on a sled shot just scares the fire out of me.

I'm certain between Dan and Chris, Gabriele has found something to learn from.

Quick 2 cents:

I would block out the entire path of your shot.. choose the best overall exposure that won't over expose within your frame (if possible), yet uses your cameras settings to ensure the highest Fstop possible withing your limitations. Keep the shot wide enough so that the subject won't accidentally wander out of frame and focus for the general distance that you will be from the subject (taking into consideration the important background information). try and keep that distance consistent during the shot.

You may have to up the gain in order to ensure a high enough Fstop, but this will help ensure that you don't loose focus.

And above all, choose a day where the contrast of your scene is not too high... an overcast day might be preferable, especially considering the subject matter. Otherwise you may need to bounce light into the shadows or diffuse the sunlight to soften and reduce the strength, which would be difficult for most of us (from an equipment standpoint) on an expansive traveling shot. Of course if you have a few 2K HMIs you may be OK :-)

You can now get a shot that doesn't react to the scenes light level, and is in focus. Any tweaks to exposure can be handled easily in post as long as you keep all of the detail you need when you shoot the scene.

Well stated, Chris. Auto focus isn't all bad. There are some situations in which it can be very useful.

This sort of thing is actually quite tricky to capture with a stabilizer, even on a larger scale shoot. Not so much from a focus perspective--as we know, DV delivers virtually everything in focus when shooting at a wide angle (even at the wide setting of the standard XL2 lens). The exposure in an environment that Gabriele described is going to vary widely if windows are involved, and certainly an automatic setting would create a problem when a blown-out window comes into view. However, few nightclubs have windows, so perhaps this wouldn't be an issue.

The idea of adjusting the iris while shooting with a stabilizer goes beyond "newbie" and "seasoned vet" into "problematic". One should be keeping both hands on the rig at all times, and certainly not fiddling with controls during a shot as it will inevitably bump the camera. You'd have a slightly easier time with a ring-type iris control such as would be found on the old XL 14x manual lens than with the current XL2 iris control. In this situation you can use the camera's viewfinder to judge exposure, but in larger rigs that incorporate a monitor that is less likely to be as accurate as the camera's (and won't have zebras), it's another challenge to assess if you have selected the right exposure.

So, my long-winded point is--when using a stabilizer, using a set-and-forget setting for both focus and exposure within a shot is generally a necessity for beginners and advanced users alike. Until you are using a level of technology that allows someone else to ride the settings (i.e. shading from a truck via triax, or a wireless remote focus and iris control), this is the best way to go.

Gabriele, if you feel comfortable using the Glidecam, I think it sounds great for the application you describe--many people feel that Steadicam shots look "spooky" by nature, and even if you haven't had that much time using the rig and the shots are a bit floaty, that might even add to the look!

Amen brotha! I quote:
"Good camera work begins with composition." The 5 C's of Cinematography
by Joseph V. Mascelli [One of the top essential books for filmmakers]

As long as she uses iris lock (avoiding the amateur look), the camera will do an excellent job IMHO.

Shot!
 

Hi!

I have to say that your feedback helped me a lot, and was very informative too, sometimes almost "philosophical"!

At the end, I shot in Tv mode, and all went OK, no focus problems or overexposures. I've used a camera preset suggested by someone on this forum and the colors are vibrant, even without any CC.

I will give you the link to my first "masterpiece" soon!

Thanxx again

Although I never recommend auto mode, this is one instance where it is the only solution. Most the time the person operating the steadicam is focused SOLELY on keeping the correct plane and keeping the proper framing, you cant possibly manually control the camera and do this. Sounds like you figured it out...



ash =o)