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Tag Archives: video capture

I recently made a presentation on H(d)SLRs  to a group of photographers in New York, and two of the concerns the audience had included the amount of money needed to get your H(d)SLR video ready and the size of the equipment.  It got me thinking about a reasonably-priced, handheld stabilizing solution that would allow for growth and expansion as needed.  If your curiosity is peaked, click here to read on….

The Thought of the Week:

Photography and the Olympics

The 2010 Winter Olympics are well on their way:  Hopefully, the photographic community will celebrate the accomplishment of the athletes as captured, as opposed to getting caught up with which brand of camera was used to take the picture.  

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coollights

One of the reasons I decided to undertake a series on lighting for still and motion at different price points is to underscore the fact that there are lighting solutions for every wallet and pocketbook.  While a lot of the outdoor footage which is being shot with HSLR/HDSLRs which include cameras such as the canon 5D markII  and the 7D and Nikons D90 and D300s, makes use of available/ambient light, indoor motion recording often requires a different approach.  While some of the products offered by the big names in professional lighting for stills and motion may cost more than many people can or are willing to spend, there are lots of options for those just getting their feet wet experimenting with the dual mediums as well as for the “seasoned” dual medium shooter.

 For the under $500 off-camera solution while high power, low heat production, and low wattage were still priorities, I also wanted a solution that had multiple power options.  I decided that I wanted to go with LEDs.  The bad news was that I could not find a solution in my favorite brick and mortar stores in the target price range.  The good news is that I found what I was looking for online!  My search led (no pun intended) me to, Nevada-based, Cool Lights USA.

The lighting unit of choice was their CL-LED600.  I choose the 5600k flood model with a 60 degree LED beam angle, over the spot (40 degree LED beam angle) and 3200k degree models.  I thought the 20 degree beam angle advantage that the flood had over the spot would produce a broader and more flexible light for my shooting needs. 

The Cool Lights Website indicates the LED600 has a lot going for it and after using it, I have to agree that it does.  The unit is approximately 10”x10”x3.25” and weighs about three pounds.  The unit is shipped with a set of barn doors mounted, which increases the weight to 6 lbs or so.  The LED600 is solid, well-made, well-finished, and offers a lot of lighting control:  There is a master switch and a dimmer as well as five bank switches which allow you to select and brighten or dim various bank combinations from zero to 100% of the fixture’s LEDs.  While the CL-LED600 ships with an AC cord, its rear panel has a 4 pin XLR outlet, which allows the unit to be run off a 12-18 volt battery.  As an alternative, you can purchase an optional battery adapter plate, either Anton Bauer or Sony “V” mount, and attach the appropriate battery directly to the rear of the unit.  Three power options: how cool!  This makes the CL-LED600 a versatile tool. 

According to Cool Lights’ Richard Andrewski, the CL-LED600 puts out the equivalent of a 650 watt incandescent light but uses around 50 Watts of power.  As you can see from the images below, the unit does indeed put out a lot of light.

cool-lightsbw-copy cl-led600-as-main-flashpoint-camera--left-as-fill-2

In addition to the AC cord and barn doors, the unit also ships with a shoulder bag, directions, and four filters for use in the built-in filter holder:  Two minus green filters of different strengths, a full CTO filter and a diffusion panel. 

For those looking for a lighting solution which offers a lot of power, tremendous control, and AC/DC flexibility, the CL-LED600 is definitely worthy of consideration.  For more information on the CL-LED600 visit:   http://www.coollights.biz/

As more and more H(d)SLR cameras hit the market, there will be a greater interest in and demand for continuous lighting solutions that can be used for both still and motion capture.  I decided that I wanted to look at some options available at different price points for AC and/or DC use.  I also decided to look only at off camera solutions.  I removed incandescent lights from consideration as I wanted high output, low wattages and minimal heat.  I established three thresholds for solutions:  Up to $100; up to $500; and up to $1500.  Rather than covering several lighting options in one post, I will write about the solutions separately between now and the middle of November. 

 I decided to explore an under $100 lighting solution first.  I was a bit skeptical as a people shooter that I would find anything I felt comfortable with in this price range.  After doing a fair amount of searching, I settled on a couple of $42USD, Adorama, Flashpoint brand umbrella-style soft boxes and cool fluorescent bulbs.  In fact, I added $30 to the budget and bought three “Kits.”

flash-pt1Basically a “Kit” consists of a 20 x27’ soft box built around a light bulb:  Take the bulb out, remove the cord, collapse the unit and you are ready to go.  Now let me “be perfectly frank;” for $42 you shouldn’t expect and don’t get premium brand construction or finish:  The plastic base plate assembly is not the most elegant solution in terms of opening for mounting to a stand and/or tightening it when mounted, and I found myself struggling a bit to get the baffle evenly attached to the box as well.  What you do get for $42 however, once you get the light attached to the stand and the baffle on snugly, is a light that works overtime and the comfort of knowing that if you damage the bulb or break the box, replacing either won’t set you back a king’s ransom.  And most importantly, you get a light which can be used for video or still work and does not generate the kind of heat that can make a set uncomfortable.  If there are drawbacks, the biggest is that the light is not dimmable.  One solution might be to buy a few bulbs of different wattages for flexibility or place additional diffusion material on the front.  Another drawback is that even with the baffle, there is a “hot spot” in the center of the box resulting from the bulb: You may see it in the catch-lights.  The biggest downside is that the 85 watt “spiral” bulb is huge!  If you buy these lights, feel free to discard the box the entire assembly ships in as the soft box, cord, baffle and adjustment lever come in a nice black canvas case, but you will want to keep the box and form the bulb comes in.  Drawbacks not withstanding, yes indeed, I love these lights!flash-pt-5

flash-pt-7 

According to Adorama, the 85 watt bulb included in the kit I purchased roughly puts out the equivalent of a 480 watt tungsten bulb.  My conclusion—it is indeed close to that.  Adorama also says the temperature of the bulb is 5500K.  That may indeed be the temperature of the bulb, but my unscientific eyeball test felt that the light in the silver box with baffle mounted was cooler than 5500k, so you may want to custom white balance for the best result.

The kit currently on the Adorama site comes with a 70 watt bulb and sells for $39.95. The only difference between the “Kits” I purchased for $42 and the one currently listed is the bulb.  The 70 watt bulb according to Adorama, puts out the equivalent of a 350 watt incandescent light.

I feel this is a wonderful product worthy of consideration for those seeking to light for motion and still work at a most compelling price.

© 2009 bkatkinson     © 2009 bk atkinson

^ Stills  captured during a video shoot using a single Flashpoint “umbrella-style” Soft Box Kit.

 I want to make a few general comments in closing: First, for those of you who own flash lighting equipment already, if you try using those modifiers with continuous lights, make sure they are properly ventilated and heat rated as a lot of light modifiers which are routinely used for flash applications are not made to be used with continuous lighting and particularly those that generate a lot of heat.  Going forward, if you are going to be shooting with flash and continuous lights and want to use the same modifiers, you may want to make sure that you buy modifiers that are appropriately rated.  The second point I want to make is that even though some lighting is considered “cool” the term cool may be relative:  Be careful handling fixtures and bulbs, especially immediately after turning them off.  If you are shooting with fixtures that require installation and removal of bulbs, store and transport them with care. 

Glossary:

H(d)SLR stands for “hybrid digital” or “high definition” single lens reflex cameras -you decide which.  This is what I call cameras such as the Canon 5dMarkII and 7D, the Nikon D90, and the D300s, and other DSLRs that are video capable.

convergence-motion-2-still

It’s been nearly a year since the first wave of “motion capture” enabled dslrs which I have been referring to hslrs or hdcds were announced. So after my eight months of using the Nikon D90 and the Canon 5D MarkII, I decided to revisit the concept of stills and motion. 

Needless to say the reaction to the convergence of still and motion capture was mixed and depending on whom you talk to or which Internet forum you read, remains mixed.  Some hardcore photographers expressed the sentiment that motion capture in a still camera is a gimmick.  Some videographers pointed out limitations that make hslrs suboptimal for capturing motion.  Some people adopted a wait and see attitude; yet others have embraced the possibilities with enthusiasm.  There are also those who were or are indifferent, as motion capture may be one more feature among many they will not use.  The discussions on the convergence of stills and motion  reminds me of the discussions several years back when Olympus first “lifted the mirror” facilitating live-view in a dslr or when the monotone capture option which was a feature on point-and-shoots, made its way to dslrs; or even further back to some of the passionate debate on digital capture versus. film.  There appears to be a direct correlation between time and acceptance or in some cases perhaps resignation.

Prior to the inclusion of motion capture in dslrs, photographers depended on the high frame-rate per second capability of their cameras to chronicle action. This eliminated many cameras from consideration for action shooters.  The inclusion of motion capabilities in still cameras opens up new possibilities for action shooters, and may make cameras, that otherwise would have not been considered for action shooting, contenders.

One thing is for certain:  Whether you are talking about the hslrs from Canon and Nikon, hdcds like the Panasonic Lumix GH1 or the Red DMSCs, a convergence of dual capture in a single package is not just coming, it is here.  I don’t really understand why the discussion for some comes down to one or the other.  Point-and-shoot cameras have had this capability for years and I don’t remember this ever being discussed in the same manner.  But then they were not capable of producing the quality of video we are seeing in the current crop of motion capable still cameras. 

My own stills/motion “ah ha” moment, came not because I woke up and realized there were three monitors on my desk, or because I found myself rotflmao courtesy of a YouTube video or watching a product promo on a manufacturer’s web-site, but rather while walking between locations in Central Park last August during a wedding shoot.  I wasn’t thinking about recording a blockbuster, only capturing a few moments of motion that were visually arresting.  I thought my clients would have appreciated such footage, and would have wanted to share it with their friends and family as they had been doing with their still images on Flickr for quite some time. The great irony here is that I usually do not shoot weddings.  That was about a week before the Nikon D90 announcement was made.  My only experience with motion capture up to that point had been relegated to my cell phone camera.

Since the arrival of the  Nikon D90 and the  Canon 5D MarkII, video camera accessory makers from Zacuto and Redrock Micro to independent image makers like Bruce Dorn have developed products to enhance the “still to  motion” capture experience.  There are a growing number of products targeting hslr users with items ranging from focus follow and sliders, to mounting rigs and screen enhancers, some reasonably priced and some extremely expensive.  The effort to produce accessories at every price point suggests that still and video convergence is a growing segment of the imaging industry and that there will be a demand for tools to exploit the combined capability by amateurs, enthusiasts, and working image makers.  The fact that many products have lengthy waiting lists or are back-ordered, suggests that the manufacturers simply cannot keep up with demand.  Perhaps, those embracing motion are not as vocal  on Internet forums as those who do not.  And perhaps the term “silent majority” is being re-defined.

The number of camera model specific sites which provide information on motion capture or celebrate the capability is growing and is both surprising and impressive.  Additionally, there are plenty of people posting samples and instructions on-line of their DYI accessories for motion capture.  You might argue about whether a still camera with motion can be used to record a box office hit, but clearly they are very capable for many of the Web-based multimedia and monitor/television-viewed applications that are growing in popularity and becoming a more important part of the entertainment and knowledge acquisition processes. 

The area that there has been surprisingly slow to respond to the convergence of motion and stills is lighting, and this remains one of the biggest areas of concern and challenge for photographers.  While the camera makers continue to provide either built in and/or supplemental flash solutions, none market a continuous lighting option as part of the available accessories.  Additionally some of the more popular names in flash photography continue to release new studio and location powered flash units, but have been silent with respect to continuous lighting products.  Between small flashes, small video light solutions, studio flashes and larger continuous lighting sources, the prospects of having four different brands and solutions is mind-numbing, and potentially expensive.

Perhaps no individual early on had a greater impact on getting dslr users to consider the potential of motion capabilities than Vincent Laforet.  Laforet’s self-produced and self-financed short “Reverie” which was shot with a Canon 5d MarkII and has become the centerpiece of the camera’s print marketing campaign, generated a tremendous amount of interest and activity.  In less than four weeks after Canon announced the camera and nearly two months before the camera hit the stores, Laforet and his blog became a “real-time experience” resource for many.  Over a 10 day period, between late September and early October 2008, “Reverie” was reported to have been viewed over 1.5 million times.

With recent firmware changes which have given users greater manual control over the 5D MarkII, along with stir caused by “Reverie,” I cannot help but wonder if Canon was even remotely aware of the possibilities that people would see for the motion enabled dslr beyond the “quick grab.”  I am sure this has caught the attention of the other camera manufacturers as well.  It is just a matter of time before HD motion capture becomes as common as auto focus in every dslr. 

One of the arguments that I hear often with respect to still vs. motion capture is that they are such different disciplines.  But in the stills arena, I could make the case that shooting weddings and shooting landscapes are different disciplines; or in the motion arena that shooting shorts and shooting full length features are also different disciplines.  There are some substantial differences in stills and motion work, and I don’t want to minimize them – sound, lighting and processing are three of the more obvious ones.  But in purely visual terms, I think that the response to how different they are, may be “it depends.”  It really does depend on one’s frame of reference.  A photographer who is used to shooting against gray paper or muslin backdrops with posed subjects, may find the transition from stills to motion a different experience from a photographer who works from story boards, on sets or in rooms and locations, where the environment is key and the lighting considerations and needs are different; and/or from the photographer who actively directs his or her subjects; or the photo-journalist.  It should be noted that photographers have been moving between stills and motion for quite some time.  Three photographers who come immediately to mind who made the transition are Stanley Kubrick, Gordon Parks and Herb Ritt. 

I asked New York based photographer Mike Kobal, who has embraced the motion capabilities of the first generation of hslrs/hdcds in a big way, to describe the differences he finds between capturing stills and motion.  Mike says that “Shooting stills is a subtractive process:  I choose the moment to press the button and hopefully capture the essence of what I want to say and what I saw; whereas shooting video is more of an additive process, anticipating the flow of things and editing to complete the story.”  Mike has been shooting with the Nikon d90 and Canon 5DMarkII, and recently began working with the Panasonic Lumix GH1. 

While some photographers may continue to debate still vs. motion or motion vs. still and often with great passion, there are three things that are not debatable: 

  1. We live in a multi-media age
  2. The Web continues to evolve and grow; and
  3. There is a there is a demand for content.

The people who are looking for content don’t care what camera is used:  They just want to see the end product.  You do not need a $50,000 camera or for that matter even a $1,000 camera to shoot content.  But hopefully better tools will lead to better visual quality.

Without getting emotional, let’s look at a few facts related to the U.S.A:

 

  • In April 2009, nearly 79% of the total U.S. Internet audience viewed online video.
  • The average online video viewer watched nearly 6.4 hours of video.
  • Over 107 million viewers watched 6.8 billion videos on YouTube.com which equates to almost 64 videos per viewer.
  • 49 million viewers watched 387 million videos on MySpace.com which equates to nearly 8 videos per viewer.
  • The duration of the average online video was 3.5 minutes.

Source: comScore Inc.

 The growth in the video trend is not just an American phenomenon:

  • The total number of videos viewed online in the U.K. in April 2009 grew to 4.7 billion videos, a 47%increase over the same period in 2008.
  • Google sites were the most popular U.K. online video property in April 2009.  2.4 billion Videos were viewed, which represents a 58% increase over the same period in 2008.
  • YouTube accounted for 99% of all videos viewed on the Google sites.

Source:  comScore Inc.

Sites such as Flickr (Yahoo), SmugMug, and Photobucket (Fox Interactive Media) that were built around the business of photo sharing offer video sharing options to their members:  Stills and motion, side by side.  Now at this point at least one reader is thinking that a lot of those 5 billion or so videos that were watched are mediocre; but then so are a lot of television shows and movies, not to mention many of the still images that end up on stock sites or are posted on the Web.  But there are also plenty of gems out there.  It is up to the viewers to choose the wheat or the chaff.

How we image makers define ourselves may have a lot to do with whether and how we embrace the convergence of stills and motion or motion and stills. Even though technology has marched on, we may be saddled with legacy baggage from the film days.  Call yourself a photographer and you may be confining yourself to one camp; call yourself a videographer and you may be confining yourself to a different camp.  Consider yourself something else like an image maker, or a “stil-mo-tographer,”  be open to trying and doing new things, and you may just find that it frees you from the perceived constraints of one discipline versus the other, gives you an advantage and/or opens up new avenues or perhaps keeps you competitive.

I just realized something:  As a child the one thing I never did was go to camp. 

 Glossary:

Hslrs – hybrid single lens reflex cameras

Hdcds – hybrid digital capture devices

DMSC – digital motion and still camera – the Red designation

Rotflmao – you can Google this one!

Note:  The hyperlinks that appear throughout this article and site have been included with the consent of the respective product and site owners.  Their company names and their respective products names are in many cases registered trademarks /service marks and are the property of the company.  I thank them for allowing us to link to their content.  This site has no affiliation with any product manufacturer or retailer and its owner receives no consideration, financial or otherwise, from any company or retailer.  The entries and images on this site are copyrighted and should not be reproduced with out permission.

One of the most significant products that I have come across in my examination of stabilizers for hslrs is the U-Boat Commander.  The Commander, as I will refer to it, is an innovative product developed by photographer/director Bruce Dorn, a Canon Explorer of Light, writer, and gadgeteer extraordinaire.  I call him a gadgeteer because Bruce has a wonderful ability to craft solutions to meet his shooting needs.  A visit to his site www.idcphotography.com/blog/  is extremely enlightening.

 

I consider the Commander significant because it is, to my knowledge, the first stabilizing rig developed from scratch to accommodate the Canon 5D Mark II for video capture.  The other rigs which I looked at were existing products.  I have had use of the Commander for the last five days, and I will admit that as I boxed it up this morning to send it back to Arizona, there was a bit of mist in my eyes.  Nikon D90 users do not feel slighted:  I encourage you to read on.

Canon 5D Mark II mounted on the U-Boat Commander

Canon 5D Mark II mounted on the U-Boat Commander

 

The Commander offers something for lots of people due to its modular nature:  In its most basic form it is a two-handled platform; the intermediate configuration adds a plate on top (bridge) as well as a handle and cold shoes, which allows you to mount a microphone and/or lights, as well as facilitating low angle shooting; and in its most complete form it adds a shoulder stabilizer, which can also aid in table top stabilization and or panning and tilting movements.)  The anodized aluminum plates and bars are beautifully finished.  I do want to note that the knurled handle grips come without handle pads:  They will take standard bike handle grips (I used weightlifting grips.)

 

In many respects, the Commander reminded me of shooting with the Fig Rig, in that the unit is held out in front of you and the body acts as a shock absorber when moving. I also found that there was tremendous mobility although the Fig Rig does enjoy an edge here due to the circular frame.  Unlike the Fig Rig, since the bottom plate of the Commander is flat, the camera can be safely placed on a flat surface when not in use.  The 5D Mark II can be mounted directly to the commander base or attachment can be achieved via an optional quick release assembly.  Either way, you have access to the 5D Mark II battery door.  u-d90For those shooting with the Nikon D90, the battery door of the camera is also fully accessible when it is mounted to the Commander base.

 

 

 

 

 

 

 

The modular nature of the Commander brings together the best aspects of many of the other products I own/have used and/or considered, both less expensive and more expensive.  It offers good range of motion, and shoulder stabilization on demand, the ability to mount accessories such as lights, microphones and monitors.  The low angle shooting ability is a functionality that can be very costly with other systems.

Low angle shooting with the Commander

Low angle shooting with the Commander

 I found setting up the Commander pretty intuitive.  There is, however, an excellent video demonstration on Bruce’s site for those who want an understanding of how all the pieces fit and work together.  While I spent most of the time with the Commander in the intermediate configuration (Kit 2) with the bridge and handle attached, there is a lot to be said for attaching the shoulder stabilizer.  I found it much easier to access camera controls while moving around with the shoulder stabilizer than without it.  I liked the option of being able to use the stabilizer either over my shoulder or pressed into my shoulder.  I also “pimped” the Commander and discovered that with the addition of small furniture gliders on the bottom of the base plate that I could achieve similar action to a dolly and track system on flat surfaces.

 

As I was mulling over my thoughts, I realized that most equipment reviews/commentary are written by men.  I asked my sister to try the stabilizers out and share her reactions.  Of the three pieces of equipment, her hands down favorite was the Commander.  For her use, the Commander offered the best balance, was lighter than it looked and than she thought it would be, and she liked the over the shoulder stabilization option as opposed to the into the shoulder bracing.

 

The Commander kits are not inexpensive:  While the intermediate configuration (Kit 2) exceeded the $300 budget I set by $69, the basic configuration (Kit 1) at $239 would have been within the parameters.  The Works (Kit 3) would have been way out of range.  The good news is that very soon there will be upgrade modules available for purchasers of Kits 1 and 2 so that you can add on as you need to and/or grow.

 

In looking at the options for products, I always suggest to the extent possible that consumers not only look at how they think they are going to use a product, but to try to look at the versatility and the range of applications for which a particular product can be adapted or used.  I think that this is the most appropriate way to consider a tool like the U-Boat Commander.  When I look at its functionality, and modular nature relative to the universe of available tools and add ons, the U-Boat Commander looks very, very good. 

 

Don’t be surprised if you see one of my cameras mounted to my own Commander in the near future!

If you want to seriously stabilize your Canon 5d Mark II or Nikon D90 (referred to as “hslrs,”) a tripod and/or monopod along with a fluid head are, at a  bare minimum, essentials. They are available in different configurations and at various price points.  A critical consideration is making sure the tripod/monopod and the head can support the camera and lenses that you are going to mount.  Be sure to check the load capacity of the equipment you are considering.  While tripods and monopods address relatively stationary shooting where you may primarily be interested in panning and tilting movements and you have the space to use them, they do not address dynamic shooting conditions or shooting in tight spaces.  And that’s when you need to look at the portable stabilizing solutions.

 

Just like with tripods/monopods and fluids heads, there are portable stabilizing options to fit every budget.  Personally, I did not want to wear a belt, vest or any contraption which made me look like I was in traction while trying to stabilize my hslr.  In addition to keeping the camera steady, I also wanted to keep my wallet steady.  After giving the matter serious consideration, I arbitrarily set my budget for a portable stabilizing solution at $300 maximum:  Too much over that amount and I felt that the solution would be overkill since my primary usage for both cameras is  still work.  The solution had to be easy to transport; easy to set up and break down; and just as importantly, easy to use.  The stabilizer also had to be able to support the camera body and substantial telephoto lenses.  I was aware that this last consideration might knock out some of the support products aimed at the palm sized camcorders.  My last requirement was that I had to be able to physically handle the product before purchase.  The “video virgin” in me was driving this requirement.

 

After doing a lot of research, I found two products that piqued my interest, and were readily available here in New York for purchase.  The Manfrotto Fig Rig which I found at Calumet Photographic and the BushHawk 320D camera support which I picked up the next day at Adorama.  These are two very different solutions, but two products with impressive lineage:  The Fig Rig being the brainchild of writer/director Mike Figgis in conjunction with Manfrotto, and  BushHawk offering stabilization products for many  nature and wildlife photographers.

 

The Fig Rig

 

fig-rig1What do you get when you mount a camera inside a steering wheel?  You get a Fig Rig!! I keep hearing the Joni Mitchell song “Big Yellow Taxi” every time I think about the Fig Rig!  People may find the concept of walking around holding a “steering wheel” in front of you, strange but I have to tell you it works.  The Fig Rig offers incredible freedom of movement.  The two handed navigation if you will, results in tremendous stability and smooth shooting.  The body acts as the shock absorber and does not transfer the jarring movement to the Fig Rig.  The wheel itself can accommodate add on’s such as video lights or a microphone using the optional Fig Rig clamp.

 

The Fig Rig is made of aluminum with padded hand grips.  You attach the supplied quick release mounting assembly to the frame and plate to the camera and you are essentially ready to roll.  Also supplied are 4 cable clips which allow you to manage any wires for accessories you might attach to the frame.  You are looking at somewhere in the vicinity of 2 pounds before you add the camera.

 

The biggest drawback with the Fig Rig is the fact that it is impossible to place the camera down in a stable position when it is mounted.  I find myself removing the camera from the cross bar when it is not in use (perhaps some sort of surface brace or stand can address this.)  The other possible drawback is that you do look a bit weird walking down the street with one.  But to those worried about how they look, I say get over it!  The price of admission:  $299.

 

The BushHawk 320D

bushhawk1The other product that I found myself very excited about is the BushHawk 320D Shoulder Support System.  If you think steering wheel with the Fig Rig, think shotgun with the BushHawk!  This shoulder based stabilizing system is what is called gun mount with a trigger which with the appropriate cable release will “fire” the shutter.  Now one of my big concerns about taking this thing out and using it on the streets of New York is that someone is going shout “gun” (as Clint Eastwood in “In the Line of Fire” does in a crowd) and wrestle me to the ground!! 

 

 

The 320D Pro Kit (one of two Canon versions and there is a Nikon version as well) I purchased included:

 The 320D double handle stabilizer with trigger and shoulder pad; Canon shutter release cord; Quick   release assembly and wrenches; Window Pod;  Strap; Release cord case; and Storage bag.

 

bushhawk2The 320D is a modular thermoplastic frame which is extremely light and strong.  An adjustable arm, which has a shoulder pad at the end slides into the main frame, and is locked into place by tightening a knob.  While BushHawk advertises the product with both hand grips in the same plane, I  loosened the front hand grip and rotated it 90 degrees (as pictured to the left,) which gave me   better balance and  greater stability while shooting video. 

 

 

 

 

One of the biggest plusses for the BushHawk 320D is that with the cable release cord attached, you can effortlessly capture stills while shooting video with the 5D MarkII via the trigger button. I also found the BushHawk worked well for normal viewfinder shooting, live view shooting or video.  If there is a negative associated with the 320D, for some people it will undoubtedly be  having the shoulder pad braced against them.  It does take a little getting use to. The price for all this at Adorama was $212.

 

Whether you go with either of these systems, or with another, the stabilizer is only part of the equation.  The other part of the success of any of these systems depends on you and your ability to hold and move with  the product of your choice.  For me, a heel toe combination seems to work best for removing variability from my stride under most circumstances when moving with either of these stabilizers.  I urge anyone buying a stabilizer to practice moving and finding their own “right” stride.  And don’t forget about picking up a light set of weights to get your shoulders and arms into shape.  You will thank me for this advice!

 

In Part 3 of this series, I will be looking at  the Bruce Dorn U Boat Commander.  I have elected to talk about this system independently because unlike the Fig Rig and the BushHawk, both of which I purchased, the U-Boat commander is on loan for evaluation purposes. Also unlike many of the available solutions, the U Boad commander was developed specifically for use with the 5D Mark II.

 

 

Early last August, I had an opportunity to shoot wedding pictures for a couple in New York’s Central Park.  As my assistant and I were walking a few hundred feet behind the happy couple, and I looked at them leaning into each other as we moved to another location, I remarked how we were witnessing a video moment!  The problem was that I had no video camera:  Just two dslrs, one a Nikon and the other a Canon.  Just a few short weeks later,  Nikon and Canon announced the D90 and the 5D Mark ll respectively, both of which would have high definition video capability, and in many respects will alter the feature set of still cameras going forward.

 

Now the reaction to video in dslrs has been mixed to say the least.  Some people both professional and enthusiast, embrace it, and others call it a gimmick.  Funny, I think back to only a few short years ago when Olympus put a dust shake system, and live view in their cameras.  Features which many marginalized then have become the expected norm today.

 

After experiencing that “Ah Ha” moment in Central Park last August, I am happy that I now have the option to shoot a little video and stills in a single package.  We do live in a multimedia age.  With the rise of YouTube, Vimeo, social networking and image sharing sites such as My Space and Flicker, as well as commercial product advertisement and news sites, the importance of video capture capability in any imaging device, should not be lost or minimized.

 

These hybrid cameras, as I refer to them, are not meant to replace dedicated hi def video cameras nor are they intended to shoot a box office blockbuster; but for clips and  even shorts, they are indeed valuable and intriguing tools.  I can tell you in shooting with both available options, that there are things I like about both and things which I don’t care for!  Each manufacturer could learn a thing or two from how the other has incorporated the video feature for future refinement.  The most important thing for those of us who are embracing the feature is to learn how the system of our choice operates and to exploit it to the fullest. What is clear is that the technology will develop and develop rapidly. A year or two from now the amount of control and flexibility in shooting speed will make today’s groundbreakers seem crude.  But for now I encourage all who have purchased them to enjoy the feature.

Coming next week – Part 2:  Mounting the Hybrid Camera for Movement

 

Resources for learning more on shooting video with dslrs:

http://www.usa.canon.com/dlc/controller?act=GetArticleAct&articleID=2186
 
http://cpn.canon-europe.com/content/masterclass/eos_5d_mark_II_masterclass.do
 

 

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