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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

laser distance measurer

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Isaac Bauman

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I was wondering if anyone had words of wisdom on the application of laser measurers (in lieu of a tape measure) to check the focus on shots.

There are many of them on the market, is there a particular model most suited to use with the red? There are models that cost $100, and models that cost $250: http://www.lascolaser.com/show_prod...er&keywords=&gclid=COnsrKqYpJsCFRZCagodkhshBg

Money is no object in this case, but I don't want to spend more if I don't need to. How accurate does it have to be - 1/4"? 1/16"? Thanks!
 
Isaac Bauman said:
I was wondering if anyone had words of wisdom on the application of laser measurers (in lieu of a tape measure) to check the focus on shots.
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I'd think at least twice before using a laser device with actors on a set.
 
Isaac Bauman said:
Why's that? Because you don't want to shine it in their eyes? Haha I hadn't thought of that.
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Yes. Actors freak out at even the remotest possibility of such things, whether they happen regularly or not.
 
It is a nice addition. I use Leica Disto. Make sure you get the top of the line model or one below as the cheaper once do not have good range outdoors. Of course, you need well-callibrated glass and perfect back focus to use this method.
 
daylight is the trick with these - the cheap ones barely work at all outdoors. (mine's a FatMax... I use it indoors occasionally just fine.)

The pro ones are $3000 and do not project a red beam, are safe to eyes, and continuously read out distances... that's what you've seen used on big sets.

The cheap ones are stated to be harmful to eyes. I would never point mine at someone's face, but it's not hard to get a reading off a chest.
 
I found them very useful. I think most focus pullers I know have one in their bag. There is the issue with actors, but you can always stand by the actor and point it at the camera if it's what happens to be in your hand at the time. I think most people would go for a tape measure if time permitted it, but I know a couple of very good focus pullers that use Distos almost exclusively for shooting dramas that have a documentary feel to them. A tape measure is better for controlled drama style situations, but you can be very fast with a Disto. Quite often you will want the distances of lamp posts letter boxes etc which you can use when following someone walking down the street.
 
Irri said:
There is the issue with actors, but you can always stand by the actor and point it at the camera if it's what happens to be in your hand at the time.
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WARNING!!!

Be very aware when doing this.....you can, and will damage electronic camera sensors when pointing a laser at the camera. It does not affect 3 chip cameras as much, as they have a prism to break up the beam, but with a single chip camera (RED, Phantom, etc) there has been damage.

John DeBoer
Director of HD Sales
Sim Video International
 
I aim it at an assistant's hand level with the gate rather than into the lens :) A little common sense goes a long way.
 
Mike, every set I have been on in the last 5 years has used a laser measuring device. I think actors universally prefer the idea of getting popped in the eye with a low power laser (I mean really unless you are stoned and stare at it, it's way safer than a Mig welder, or looking at a 6k HMI for that matter), to getting their face lacerated with a metal tape.

The most often used is the Hilti. It reads out faster than the Disto, and is accurate to 1/16" out to about 400'.

As to the saftey of the chip, why on earth would anyone ever point it at the lens?

Nick
 
I don't like the idea of the laser pointer at camera. Isn't the whole idea of a laser device that you can get a quick measuring without having to step into the set right FROM camera as you're dialing in the focus?

A first that takes measurements like the one you're describing would last less then a day on my crew books.
 
Florian Stadler said:
... Isn't the whole idea of a laser device that you can get a quick measuring without having to step into the set right FROM camera as you're dialing in the focus?
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Absolutely, but you do end up out there on occasion for various reasons. The laser doesn't point at the camera, it points at the assistant's hand near to the camera. I don't think you would find it so offensive if you saw someone doing it the way I have seen it done.
 
Lasers are used a lot. They are bad for cameras like the RED.

But whatever happened to good old fashioned focus pulling?

I have considered and almost purchased the Leica Disto several times. But I have never found myself wishing I had one on set. I use my Fat Max hard tape for short distances and my soft tape for longer distances and up to actor's faces/eye. Along with a white grease pencil and a black Lumocolor, that's it. When shooting RED, I use the focus assist as well.

There's also cinetape if you're into it...

You can also sit around "practicing"... Guess how far the lamp is from you and then throw out your tape and check. Eventually you will pick up the ability to judge distances better.

How would a laser help in this shot? (BTW - I'm on far right of pic pulling with a Bartec)
IMG_0160.jpg
 
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Well you don't have to use one, but a lot of people like to use them.

Maybe it wouldn't help in the situation pictured above, but is every shot on Steadicam with a remote follow focus? Say the camera was static and set where the person with the yellow top was. The shot follows the person in blue and white check walking past the columns. You could laser all the columns from the camera very quickly without moving and use those as references.
 
True on all points Irri.

IMO - Some practices need to return to the old school way of doing things.

The laser meter is great, I know a lot of guys who use them/use often. But most of those same guys can pull without even a tape measure...

Short version - IMO, leave the laser at the store - BUT it does work and works well. Just know how to pull focus BEFORE you add one to the kit.

IMG_1171.jpg
 
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Laser distance meters are fabulous tools for the focus puller. But you always use the right tool for the job. If working close, I always use my 16' Fat Max steel tape, because its fast and I'm used to it. If working past 16' I can either pull out my cloth tape or use my Hilti PD-32.

The PD-32 is awesome because it incorporates an optical sight so you can see the laser dot in bright day exterior situations. I got mine off of Ebay for about $225. I love the Hilti for steadicam scenarios, and especially for crane work where I can grab two points and let the computer calculate Pythagorean for distance to subject.

Common sense rules though, and it is a laser beam. Be cautious of inadvertent reflections off of shiny surfaces. Twitchy actresses don't like lasers pointed at their faces, even through I understand the wavelength of the beam can't permanently harm anyone. If its a sensitive situation I'll zap the marks on the floor or landmarks around the scene to get my ranges. Or if I have the tape I'll just wander out with the cloth tape and be sociable.

If you pull focus professionally... get one. To me its as useful as a Samcine and a white china marker, and sometimes its awesome to not have to put the coffee cup down and get up off the apple box.
 
My assistants on "Entourage" use laser measuring devices constantly. I used to fret about the laser brushing too close to the actors eyes but there have been no tragedies in several seasons of shooting. These guys (Art Martin, Tom Ryan, Jeff Graham, Joel Perkal) use every tool and every trick they can think of and constantly improvise new ones. Cinetape, cloth tape, metal tape, marks and references when possible. A distinct advantage of the laser is that you can see exactly which surface it is measuring. So they double check the cinetape with the laser. They frequently step out to the actors mark and check with the laser, usually having the second hold a slate at the film plane or the palm of the operators hand. If there is time they will run a tape in the old school way. But very often there is no time, or it's awkward/inconvenient. I never used them back in the day but if I were pulling focus today I would not be without one.

Rob Sweeney
 
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