Car mounts for the RED

[Spike Baumann]

What are people using to mount the RED on the hood of a car indy style?
I was thinking a cinesaddle would be good for a low budget type production.

Spike

 

[Kwan Khan]

I think the same @ cinesaddle

 

[ian dart]

hi spike,

here are a couple of rigs i built for the last film i gripped on.

the side mount is put together from speedrail. very simple.

the bonnet mount i built from a bogan/manfrotto
hi hat and some suction mounts.

i am using magic arms to stop any shakes from
the camera.

cheers,
ian

 

[Stephen Strangways]

I've just started playing with the Minisaddle size Cinesaddle, and an HVX200.

So far, I can say that I'm more confident with the security of the saddle compared to suction cups (which I've had pop off at the worst possible moments) but slightly less confident than with speedrail setups, though my concerns on that comparison are so far completely unfounded. It may just be what I'm used to.

The thing I like the most is how the saddle absorbs small, high-frequency vibrations so much better than when you hard-mount to the vehicle. It is definitely becoming my preferred mounting option, and I'll be using it for three shoot days this week.

One concern has been voiced, however, that the Cinesaddle will block the cooling vents on the RED ONE, so it is not a good idea to leave the camera mounted in one for long periods.

 

[jimhare]

Can you post some pics of how you secure the saddle?

 

[ian dart]

hi stephen,

let me reassure you when you use professional suction mounts
they arent going anywhere.
two crew members couldnt move that mount, and they tried.

cine saddles work ok but i always have a problem with keeping
the frame as they can settle as you move.

i have had a panavision camera on that mount and it was rock
steady.

cheers,
ian

 

[Stephen Strangways]

Jim, I don't have any pics so far, but there is a video at the manufacturer's website: http://www.cinekinetic.com/

Ian, I can't recall the manufacturer of the suction mount I used, but while the initial attachment was extremely secure (you could probably lift the car off the ground by the suction mounts) they did seem to slowly lose suction during the shots, until one would suddenly pop loose. I'm sure some are better than others.

You're right that the Cinesaddle can settle, so I guess that no matter what you use, it should always be checked, and re-set if needed, between takes. It just makes good safety sense, too.

 

[Robert Craig]

http://www.filmtools.com/carmounts.html

 

[Dave Blackham]

http://www.filmtools.com/carmounts.html

Lots of 6 inch Arri pads and nylon straps with a cheese plate under the camera. Build your self, its not expensive.

 

[ian dart]

hi stephen,

yes you are right, the pump action suction mounts do lose grip.

i would never use them to hold the camera. i only use the lever

models, the pump action ones i use to steady the camera via magic arms.

unless you use speedrail any bonnet mount is a compromise and a cinesaddle is as good a choice as any of the others.
just use as much strapping as possible to keep it on the bonnet.

cheers
ian

 

[Tim Duran]

Followup for Ian

Followup for Ian

Ian, I would love to see how you attached your tubes to the base of the roadster. Ditto the hood photo.

 

[Steve Gibby]

I've had my RED cameras for two years now - and I've been using my Cine Saddle with them the whole time.

I bought the full-size version, in Marsupial - hood/roof mounting hardware in a pouch in the middle of the saddle. I also recently bought the Mini Saddle Marsupial for future use with Scarlet.

Though I have the Cinekinetic-supplied hood and roof mounting hardware, I always just secure the saddle/RED combo using buckled motorcycle tie down straps. I drive a Nissan Xterra 4x4, and the saddle/RED combo sits nicely anywhere on the roof. I then just strap it down with the motorcycle ties, and I'm ready to go!

Once the rig is on the roof, I shoot by having my assistant drive the Xterra, while I sit in the passenger seat with two things in my hands: my RED LCD and a View Factor Origo start/stop switch. Both the LCD and Origo are connected to RED via 10' cables strung either through the sunroof or out the passenger side window. That way I can direct my driver, while watching the framing of the lens on the LCD. When I see shots I want to "take" I simply hit press the button on the Origo, pushing again to stop the recording. The lens I use the most in this setup is a stock Tokina 11-16 with a Nikon mount, but I've also used my stock Nikon 14-24, and my stock Nikon 17-35.

On rougher road/beach/dirt surfaces I record to CF cards. On moderately smooth to smooth surfaces, I record to a RED drive mounted via an ET Shock Mount and and an ET Speedy Clamp. My battery is always transverse mounted on the top/back of the camera via ET 12" 15mm aluminum rods, and a custom ET bracket and aluminum bottom plate for the RED power plate (see photo).

I've attached a pic of the rig on top of my Xterra one evening as I prepared to shoot some slow motion dolly shots of a woman riding a horse on the beach, in the setting sun trail, with the ocean as a backdrop.

Here is a link to a short land development demo piece I produced and shot. The last shot of the closing montage was shot with the Cine Saddle/RED rig on top of my Xterra, with me directing and shooting from the passenger seat using the LCD and Origo. As you can tell, the footage came out glass smooth. The camera setup was 3k, project frame rate of 23.98, Varispeed frame rate of 48 fps (for a 50% slow motion playback), shutter 1/125th second.

Link: http://www.zionmountainresort.com/
(Click on the High Quality Flash video on the bottom of the page. The entire promo was shot with RED, and the Cine Saddle/RED One dolly shot of the red cliffs going by is at the very end of the piece, at the end of the out montage)

With experience, and If you use your head, you can get expensive looking dolly shots with a Cine Saddle/RED One setup. As always, practice makes perfect...

 

[ian dart]

nice set up steve.

tim. i got lucky with the old 1930 ford, it had a running board
along the side and i ran the speed rail down to a plate i laid
along it.

on a modern car i use a speed rail starter kit to clamp on under the car.

the bonnet suction mount just sticks on i guess. i had it facing forward as we were trailing the old ford and shooting it from behind.

usually the camera is facing the windscreen obviously.

i put it together from a bogan/manfrotto hi hat and 3 glass
handling suction handles.
let me tell you when that thing is put on properly nothing will move it.......a couple of crew and i tried to pull it off and we almost pulled the skin of the bonnet off.
did some hard braking tests with shot bags on it and it never moved.
cheers
ian

 

[ian dart]

hi tim

some wider shots.

hope they make it a bit clearer

cheers
ian

 

[Steve Gibby]

Thanks Ian...

I really like your setup for those productions where you have the time and budget to really setup well. Your rig looks well thought out, and I'd guess the footage comes out quite well. I also have a large, custom head apparatus, with a big suction cup on the bottom. I don't use it often because the mobility of my productions dictates that we usually use the quick Cine Saddle solution.

There are definitely different ways to approach getting moving shots from a car. The bottom line is if the shots come out well. The end justifies the means...time and budget being the deciding factors.

 

[ian dart]

hi steve

cinesaddle works great for quick set ups, but the dop's i work with want you to show up with very expensive gear !
they get a bit worried about their panavisions and reds

i always tell them to get the insurance option when hiring......
just kidding.......

although they can make a very expensive sound if they come off the mount.
hasnt happened to me in oh.....six months.........kidding again

if you get the shot thats what counts.

cheers
ian