I have to agree with his simple and straightforward comments- that’s why I bought my D600 instead of a D800 despite being able to afford the more expensive body. That savings was put into lighting, grip and other areas of production.
Here’s the link:
See
I also enjoy using slow motion as depicted here, but I usually do it in post (Premiere Pro/After Effects) rather than at capture.
I included several programs from the Adobe Master Collection CS6- my core software along with Lightroom for video and still imaging file storage and manipulation.
Also added was Nikon Camera Control Pro 2, which I recommend to Nikonians who want to be able to tether their captures. It supports stills and video.
lower right: high capacity Beillen Li ion battery to power LED lights, also acts as counterweight for rig
attached to leading tripod leg
before connection of Sescom cable
illustrating Sescom cableconnections allowing dual audio capture and headphone monitoring
Rig configured for monitor, stereo XLR audio recording and LED lighting
For those who wish to share video, audio, text and/or photo files with me, please send them to my Dropbox if you have access to this feature.
Southern CA USA- Local Climate Change Issues
This link is to a recent video I created which documented a visit to US Congresswoman Judy Chu’s office in Pasadena, CA during which Organizing for Action (OFA) interviewed her representative. We established a calendar for planning future collaboration with Judy in making climate change more prominent as a regional media issue,and formulating effective ways of mitigating its future impact here.
I use the Red Rock Micro Event rig, and add some components which work well for me: the microphone will vary (in this case,Rode Stereo Videomic Pro), with my general preference being a Rode NTG-2 shotgun if there’s significant ambient noise. LED lighting such as this 6 AA panel design with built-in barn doors allows a lightweight , fairly focused daylight balanced source. For headphones, I might add either extremely light mini-phones or a full set of Rockfish noise-cancelling HP’s.
At the rear is the recently added Hoodman Custom Finder Baseplate and 3″ loupe. There’s a RRM lens ring on this 85mm f/1.8 Nikkor, connected to a follow focus; a Fader is used to control aperture in bright light, as well as flare reduction with a matte box.
I found this baseplate for $99 (no tax) last weekend at the Los Angeles Convention Center, while attending a Big Photo Show. The Hoodman rep was at the Samys section and I was intrigued by the prospect of using a compact, lightweight ‘rail’ to add or remove my 3″ Hoodman loupe to a DSLR monitor. This would make use in bright sunlight much easier.
After a short demo I decided to buy it, and I assembled it this afternoon (see images). The box has excellent schematic images showing the location and names of all of the parts. This is a modular design with 3 components: the onboard 1/8″ hex Allen wrench, the rail which accepts the loupe, and the baseplate which attaches to the camera base.
I’m pleased with the very lightweight of this unit, its build quality, and the ease of attachment and removal of the loupe assembly. The fit to the 3″ Nikon D600 monitor is excellent. Controls are positive and smooth. And it’s in Nikon colors- the main set screw is gold….[sorry, non-Nikonians]. I can easily reach the LiveView and other camera controls, because none of the baseplate extends over them.
This unit also adjusts for a 3.2″ monitor such as the D4, and all hex screws are of the same caliber so that the entire apparatus can be completely adjusted in the field with no additional tools.
SUMMARY: I highly recommend this item for DSLR videographers and still photographers, especially if you do a lot of field work and/or do not use a matte box. You won’t notice it until you need it.
baseplate (L), rail (R)
baseplate from below
attacheing the baseplate to the grip for Nikon D600
The bracket also fits 3.2″ loupes
microadjustments to fit the 3″ loupe to the bracket
the lower left portion of the vertical adjustment rail contains the 1/8″ hex wrench
no interference with battery swapout from Nikon grip
lateral view of complete assembly on tripod, with D600
closeup of main setscrew to adjust rail (gold) and QR plate from baseplate to tripod mount
Arca-Swiss compatible (Acratech) tripod quick-release plate attached
I’m beginning to use Kupo’s line of grip equipment alongside my Matthews gear and have been impressed- it’s very good quality, at a price considerably lower than Matthews’s lineup, and easily available in the southern CA area. I get mine from Samys Camera.
My 40″ extension arm and grip head w hex stud have been helpful for interview setups, instructional videos and studio stills; they make it easy to rig a light, microphone, flag, scrim or reflector with freedom of movement and great stability. I like that the grip head on the extension arm is permanently attached and will not rotate. They attach to any standard light stand.
At the same time, I can reserve the boom/jib for mounting a B or C camera.
Saurab Kumar
We may be collaborating on short dramatic film in the coming weeks. The rig worked very well..I wish that some of my crew had been available to assist this morning, but next time…..
William Hooks
maximpactphotography 