In early November I spent the day with Taiye Lambo of eFortresses, a data and information security training and certification company. To a non-corporate person like myself that’s a mouthful but if you live in the corporate world and your job intersects with data then you are likely to know and call on someone like Taiye.

eFortresses is partnering with Marlabs of Piscataway, NJ, to bring Taiye’s HISP program (Holistic Information Security Practitioner) to the northeast. My job was to create a video announcing the program, emphasize eFortresses holistic approach, and keep it interesting so that it is not just a one-shot of a talking head.

This was done on a tight budget with a limited crew (myself & one assistant.) Since it was a one-camera setup we filmed Taiye’s primary script with additional takes from a second angle. This gave us footage to cut to to keep it interesting visually.

Taiye’s diagram work at the board meshed beautifully with his voiceover helping to support the words with images. These latter clips were filmed with the camera on a monopod to introduce a bit of movement and to counter the locked-down-on-a-tripod interview segments.

Other b-roll includes the course materials. These are shot with a Kessler 3′ slider – the motion helps give a sense of the breadth of the course materials, their organization, and overall quality. The slider move, like the monopod for the diagrams, adds some visual variety to the piece.

The last b-roll comes from working in Marlabs’ server room. When brainstorming about potential b-roll and how to efficiently show data on the move, the server room was a perfect fit.

In terms of lighting I have three 1×1 Litepanels in my kit along with two Lowel Omni lights. We took the existing tungsten light in the boardroom as a given. Its color temperature was read via a color meter and the 1×1′s filtered to match. They provided the key, fill, and rim light on Taiye.  The rim light also help spark up the row of chairs behind Taiye.

The two Omni lights did not need filtration since they are already tungsten. One provided fill in the back and the other was blasting the chair on the far right. That chair, for whatever reason, sucked up light like a black hole and needed anything I could throw at it.

Most of the b-roll was shot available light except for the course materials. They were shot with one 1×1.

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On location yesterday in NYC to shoot time lapse segments for a short video. Out the door at 5:15am and at the site by 6:30am. Set up location #1 in West Harlem Piers Park, on a pier in the Hudson right by 125th St and the West Side Highway. Fortunately, Fairway’s parking lot is open and affords us a staging area.

The weather is rainy and windy. The goal is to time lapse the installation of a billboard from three vantage points via three cameras, all with different lenses.  The billboard company says they cannot install the new board if it is rainy or windy but they will not make the call until 7am (with the installation at 8am.) So, we have to be ready regardless.

Camera #1, on the river, gets setup with a 70-200mm and weatherproofed. Two assistants are left to run it, watch it, and have each other’s back.

View from camera #1. The top most billboard will be replaced. 6:50am, NY, NY, Dec. 6, 2011.

I head up to the grassy knoll on the north side of Grant’s Tomb, out of view of the river site and about five stories higher in elevation. Alternate side of the street parking means no go on street parking so I end up in a lot at 134th St.  I meet assistant #3 there and we begin the long wet march back to the grassy knoll, across the famous elevated portion of Riverside Drive which seems to be a resting place for all of the dog poop in the city. Watch where you walk and what you drag the bags through or fail to do so at your own risk.

We set up on the knoll, locations #2 and #3, one camera with a 300mm for the tight shot and the other with a 90mm for the wide shot. We weatherproof them and the client joins us.

Assistant #3 = Jon, I = Jon, and the client = John. Three Jo(h)ns on a grassy knoll in a New York City park. Sounds like trouble.

Camera #2, Canon 1D Mark IV with a 300mm lens. NY, NY, Dec. 6, 2011.

A time lapse is math. How long is the action you’re recording to take place? What size is the memory card in your camera? How much space does each image take up? And in this case, the billboard company has told us that the installation could take 4-6 hours, so add in camera battery life as another factor. Run the numbers, do the math. Worst case scenario we need about 10 seconds between images if we shoot jpeg. Raw files are too big and not doable if we have any hope of catching the raising of the new billboard and also being prepared for a potential 6 hour time-frame.

Camera #3, Canon 1Ds Mark III with a 90mm TSE lens. NY, NY, Dec. 6, 2011.

Fortunately, the weather cleared just enough for the billboard installation. The crew did a super fast job, taking only one hour.  We stay on site another couple of hours to get enough tail end footage.  When all is said and done, each camera yields a 35 second clip (one frame every 9-12 sec. depending upon the camera, each running for about three hours, images funneled into a 24 fps video.)

Update – 12/21/11:  B-ball B-board <- video created.

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I had mentioned the Canon’s new 1D X when it was announced in mid-October. Right on the heels of that Canon revealed its new EOS C300, a cinema style camera which kicks things up many notches in features, quality, and… price point.

Director/DP/Editor Jonathan Yi has posted what may be the world’s greatest test video of a new camera. As someone who has run into the HDSLR interview setup many times where the subject sits down and the moiré springs to life I can really appreciate the humor here.

Please note – some language and images may be deemed NSFW.

Jonathan has written an article for Canon on the C300. His Vimeo page has some information as well. Canon has a site dedicated to the camera, cinemaeos.usa.canon.com.

Related – 1/26/12:  Change, Flux, Reinvention.

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Coming back from an assignment earlier this month, traveling along the Delaware & Raritan Canal.

Griggstown, NJ. November 3, 2011. Click to enlarge.

Not a turkey but a pheasant…. Happy Thanksgiving.

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Shot about a month ago on the annual birthday trek and fall drive to Frenchtown, NJ.

One more from town:

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Portraits - Recent Gallery - thumbnail view.

Updates today to the Portraits – Recent gallery on my main web site. Plus some tidying up to the splash page slideshow, currently showing 2011 portraits.

More to come…

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Early this year I did two blog posts looking at how clients were using my images to define and market their brands.

Banner Images: Creating a Brand for NYU’s Gallatin School

Banner Images: Fordham University and the Woodrow Wilson School

In the past month I spent two days shooting for the Peddie School and before I could follow up on the assignment images were already gracing their home page:

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Back in April, in my post Zacuto Stuff, I looked at mating a Zacuto Gorilla Plate or DSLR Baseplate with Really Right Stuff rails and clamps to create a quick release system that would allow you to move from platform to platform without having to reconfigure your DSLR.

Zacuto Z-finder, RRS MPR-73, RRS B2 AS II clamp, and Sachtler FSB-8 head all playing nice together.

That setup worked well but it fell short in one area – the addition of longer lenses with their own lens collars and mounting feet. On shoots this past year I have had to switch between my 70-200 lens, my 300 mm lens, and shorter focal lengths on many occasions. The problem with this is the orientation of the RRS rail which parallels the film plane when mounted via the camera body but is perpendicular to the film plane when the body/lens combo is mounted via a lens foot.

You could use a screw driver on location and change the orientation of the RRS clamp as needed but that is leaving room for error and it eats up time. Likewise, you could set your camera up on a 15mm rail system with its own lens support but that too adds time and it adds to the overall bulk of the system. Lastly, you could opt to not support the lens and continue to the mount the camera by its RRS rail but you are asking for trouble with that setup. It could damage the lens mount on cheaper cameras and on all cameras it creates an unbalanced, somewhat wobbly setup.

My first attempt at conquering this involved using whatever I had on hand MacGyver style. In this case, I had an extra older RRS base clamp and an extra Zacuto Gorilla plate. The latter was needed to raise the level of the second clamp up higher (a lens foot mount is often low and with a taller camera body there can be clearance issues.)

Two RRS clamps at 90 deg. to each other to accommodate a long lens or a camera mount.

While this setup worked, in practice it was a bit unwieldy. It required turning the Sachtler camera plate 180 deg. depending upon which clamp was being used and with a taller DSLR there were still some clearance issues.

The answer I found required getting a new Sachtler camera plate and a new RRS clamp. Since I had bought my FSB-8 fluid head Sachtler had released a new camera plate, the DSLR Plate. It is longer to allow for more balancing options with longer lenses and it is slightly raised at the mounting point to give additional clearance.

The new RRS clamp I opted for is a pan head, the PCL-1 Panning Clamp, so you can leave it locked down on the tripod’s camera plate but rotate it 90 deg. as needed to shift between a lens mount or a camera mount.

While this costs more money it’s a far more elegant solution.  It can adapt quickly to a lens mount or a camera mount and it stops short of everything that comes with putting the camera on 15mm rails, needing a matte box, or in a cage.

Sachtler DSLR Plate for FSB fluid heads and the RRS Panning Clamp.

The Panning Clamp has a 3/8-16 center socket and a 1/4-20 side socket allowing for two mounting points.

The Panning Clamp's large knob is to lock the clamp, the small knob allows rotation.

Canon 1D Mark IV, 70-200, with Sachtler DSLR Plate and RRS Panning Clamp.

The setup allows for just enough clearance to leave a Zacuto plate and RRS mount on the camera body.

As with the prior picture you can quickly switch to a short lens and use the camera mount.

Notes:

Zacuto has two plates called the Gorilla Plate and the DSLR Baseplate. Both allow you to mount a Zacuto Z-Finder.

Sachtler’s new plate, the DSLR Plate, is made for their FSB series fluid heads.

Really Right Stuff (RRS) makes the clamps, panning or fixed, and they make the rails which will fit a lens collar mount.

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