KOMODO RED Dragon and HELIUM

[Nick Morrison]

In case you haven't figured it out yet, what you're trying to do isn't particularly useful. You'll end up with two shots that will look like jump cuts if you cut from one to the other.

Rakesh you'll be surprised. My team and I do lots of setups like this, it can be very useful.

 

[Greg M]

What Justin ask for is actually very useful at times. Especially with a camera like Komodo that has zero rolling shutter.

For example put a ultra vide lens on the Komodo and a longer lens on the main cam. Then the plate from the Komodo can be used for 3D tracking. And even more so having two cameras from almost the same angle also improves the accuracy of the 3D track.


Then offcourse you could do it to get different framings, safety exposure etc. etc.

But yes, the camera angles will not differ much if the camera is put right on top of each other.

Here I did the trick with a go pro. Basically the big ana lens is not the best for 3D tracking and its a 50mm so not so wide. The Gopro works as a scratch mic and 3D tracking witness camera and does so very well as the sensor is so small and the lens so wide it gives a crisp sharp image while the ana lens gives a more DOF:ed out image with would render very poor 3D tracking results, especially for closeups / tight shots.

Gopro mic by Björn Benckert, on Flickr

the real question..how does the Bear focus, he has no fingers?

 

[Rakesh Malik]

After seeing your previous post of this image I actually tried it. Bought a gopro quick clip thing (think it's made for attaching to cap peaks) and attached it to my lens hood. Found it quite useful for scratch audio, and reassuring to know I had a wide safety shot that gives a sense of the environment. Example below from GoPro and Dragon.

Beautiful photography! Reminds me of my visit to the Serengeti, but I didn't have enough reach to capture the leopards... so you could barely see that they were even there in my pics

 

[Rakesh Malik]

Rakesh you'll be surprised. My team and I do lots of setups like this, it can be very useful.

I'm thinking of film sets, since shots from such similar angles would be pretty limited editing wise. So I'm curious, could you give me some ideas about how?

That's a genuine question, not a push back.

(It can be difficult to convey that in text. )

 

[Nick Morrison]

I'm thinking of film sets, since shots from such similar angles would be pretty limited editing wise. So I'm curious, could you give me some ideas about how?

That's a genuine question, not a push back.

(It can be difficult to convey that in text. )

Sure Rakesh. We do a lot of studio and interview work. Sometimes with talent that has limited time. Think 30mins to read three commercials so time is of the essence. As they are often looking into camera, sometimes shooting the wide and tight simultaneously is the best way to go. With larger camera builds and small studios it can be a challenge, but we've learned to figure it out. If you have other cutaways (b-roll, hands, etc) it's easy to cut btw the two angles.

We did it on this spot:

http://www.smallgiant.tv/#/rakuten-xmas-2019/

We actually shot 4 angles here, but across two setups (as we had two cameras rolling at once).

I think here we had a 24 and 50 one one pass, and 85 and 135 on second pass.

This spot isn't rocket science, but we had limited time with talent and had to do several spots with set changes, so every little trick helped.

Lemme know if this makes sense.

 

[William Long]

Yes, as Nick says, it is very easy and practical to cut a WA with a CU or MS from the same angle. It's done all the time.

 

[Rakesh Malik]

This spot isn't rocket science, but we had limited time with talent and had to do several spots with set changes, so every little trick helped.

Lemme know if this makes sense.

It makes sense. When I've shot such interviews I've used two cameras with two angles, and if the budget allows for 8K I use the 8K to do the punch in, since so far they all want HD deliverables... but if they're editing, they always want HD.

I don't do that very often though, most of what I shoot is narrative, where no one's looking at the camera normally.