NATURAL HISTORY CINEMATOGRAPHY

[Carlito Herdenberg]

Wildscreen was amazing! Just a great bunch of people coming together

So, as a wildlife camera operator thinking of getting myself a Scarlet-W, I'm doing some research on what evf solutions there are out there. The DSMC2 RED EVF seems really nice. The image is razor sharp and it's nice and small too. However...the mounting options are a bit weird. It's nice to be able to relocate the viewfinder both for handheld and for tripod work. I really love the idea of a cable-free mount.

Have anyone of you guys come up with a good solution for relocating the viewfinder?

 

[Matt Hutchings]

Hi guys,

Ive just come across this thread for the first time. I've been lurking on RU for about 6 months. It's tuely inspiring!

I have been looking to get into natural history work for a little while now. I spent a year in Indonesia brushing up on my diving skills/fish ID and have a SW on order which I hope to get allocated in the new year.

I would very much like to start working in natural history here in the UK. Obviously with my diving expereince I would like to do underwater work but to spread the cost and to gain expereince I am going to purchase a land based set up first. So, I have two(ish) questions:

What lenses would you start with on the SW I have factored roughly £4,000 but would quite like some varity in there. Baring in mind it has a 1.49 crop 5KFF. I was also looking at the Manfrotto 509 HD legs and head. I get a little lost at bridge plates and rods ect. On a basic set up what would you guys make sure you had? I know it depends on what you are shooting to some degree.... but a general idea would be great.

Second and probably vastly more important is the behavioural knowledge side of things. I am painfully aware I do not have a biology degree and don't really understand what is meant by 'having knowledge of the animals you're working with'. Would there be anything you would recomend reading... learning about in general... regarding animal behavour ect? Vague quesiton I know, but that probably highlights my lack of understanding.

Really looking forward to hearing from you! I am working on a show with lots of down time so it's a great chance for me to read until my eyes fall out!

Cheers,
Matt

 

[Robert Hofmeyr]

Second and probably vastly more important is the behavioural knowledge side of things. I am painfully aware I do not have a biology degree and don't really understand what is meant by 'having knowledge of the animals you're working with'. Would there be anything you would recomend reading... learning about in general... regarding animal behavour ect? Vague quesiton I know, but that probably highlights my lack of understanding.

Hi Matt. I'm pretty new to nature cinematography. I have studied zoology, but in my experience, general academic knowledge is not of much practical help when it comes to filming. A broad understanding of things like evolution, ecology and geology is certainly useful, along with specific research on the species and environments you plan to film. But what I have found most helpful, has been to work with local guides (who invariably know more than I could ever hope to learn about a particular area) and to communicate with other filmmakers and photographers in the area. That said, I'd also be interested in any recommended reading for aspiring natural history cinematographers. Perhaps some of the more experienced people on this thread can chime in with some suggestions.

 

[Carlito Herdenberg]

So guys,

Even though this thread is on Reduser and we all love the Red cameras, I thought I'd ask you what you're thoughts are on the Varicam lt in comparisson to Reds? The old Varicam being sort of indusrty standard for quite some time.

This is what I am thinking.
Pros:
800ISO/5000ISO
Good highlight roll off
Internal ND

Cons:
Highly compressed slow motion
2k for everything above 60 fps
Weight and size
Compression and bit depth of files

I also have a question about high frame rates. I have yet to work on a film which is to be shown in 4K. But what I have understood (correct me if I'm wrong) that a reason for using Red cameras for wildlife is the ability to shoot 4K slow motion. While the majority of other cameras including Alexa Minis, Sony F5, Varicam lt etc can only do slow motion in HD or 2K. So what I'm wondering is...in what sort of shows is 4K demanded for all footage (slowmo included)? What are your thoughts for the future?

 

[Brian W]

Just droping in here to say that I've enjoyed following along with this thread, watching beautiful images, and learning a lot.

My question is: If the canon 150-600mm F5.6L is still the preferred super-tele zoom with the new offerings from Sigma, Tamron, and Nikon? The Sigma sport, contemporary, Tamron G1/G2 are all 5.6-6.3 so there is some light loss compared to the old Canon. The Nikon 200-500mm is F5.6 but uses electronic aperture, and is 100mm shorter. All of these new 150-600's are 2kg lighter or so then the canon, but likely have much shorter focus throws. Tamron makes a matched 1.4x and 2x converter.

I'll be shooting action sports (surfing, kiteboarding, snowboarding) and some wildlife. Mostly Birds. Thanks.

So guys,

Even though this thread is on Reduser and we all love the Red cameras, I thought I'd ask you what you're thoughts are on the Varicam lt in comparisson to Reds? The old Varicam being sort of indusrty standard for quite some time.

This is what I am thinking.
Pros:
800ISO/5000ISO
Good highlight roll off
Internal ND

Cons:
Highly compressed slow motion
2k for everything above 60 fps
Weight and size
Compression and bit depth of files

I also have a question about high frame rates. I have yet to work on a film which is to be shown in 4K. But what I have understood (correct me if I'm wrong) that a reason for using Red cameras for wildlife is the ability to shoot 4K slow motion. While the majority of other cameras including Alexa Minis, Sony F5, Varicam lt etc can only do slow motion in HD or 2K. So what I'm wondering is...in what sort of shows is 4K demanded for all footage (slowmo included)? What are your thoughts for the future?

The EVA1 seems to offer similar bonuses without raw capability (yet).

The F55 with the new axs-7 raw recorder has continuous 4k 120p and around 20 seconds of pre-record. It seems like a vary competitive option, if limited to <true 4k. I've seen used kits (without raw recorder) going for Scarlet like prices. I wonder if anyone here has made a comparison with the epic?

 

[Sabyasachi Patra]

There is also the Canon 200-400 f4 L IS USM with 1.4x built-in TC. A bit expensive as it is one of the premier lenses, but good.

 

[Robert Hofmeyr]

Hi all. Here's some recent footage of mine from Mana Pools, Zimbabwe: https://youtu.be/eFn6uE8btT8. It's a fantastic place to film wildlife: incredible light, beautiful landscapes, and it's one of the few parks with dangerous animals where you are allowed to get out of your vehicle without a guide. Comments/constructive criticism are welcome.

Rob

 

[Carlito Herdenberg]

Hey Brian,

I used have the Canon 150-600mm f/5.6. It was a nice but heavy lens. But today I think both the Sigma and Tamron lenses makes more sense. The image quality is a bit more modern looking. The only thing I regret not having is working IS and a fixed focus ring rotation. The focus throw is long enough but just not as smooth.

I decided to go with the Scarlet-W as I think the Reds are great cameras, that are good for other stuff like commercials and drama too. The only thing that I have been missing is the higher ISO capabilities. Shooting high framerates at dusk or in a dark forest really pushes the limits of the sensor.

Sabyasachi. Is the IS working on the Canon 200-400mm? Definitely the lens that I'll be upgrading to if it does work.

 

[Sabyasachi Patra]

Hey Brian,

I used have the Canon 150-600mm f/5.6. It was a nice but heavy lens. But today I think both the Sigma and Tamron lenses makes more sense. The image quality is a bit more modern looking. The only thing I regret not having is working IS and a fixed focus ring rotation. The focus throw is long enough but just not as smooth.

I decided to go with the Scarlet-W as I think the Reds are great cameras, that are good for other stuff like commercials and drama too. The only thing that I have been missing is the higher ISO capabilities. Shooting high framerates at dusk or in a dark forest really pushes the limits of the sensor.

Sabyasachi. Is the IS working on the Canon 200-400mm? Definitely the lens that I'll be upgrading to if it does work.

Yes the IS in the Canon EF 200-400 works well. It is rated at 4 stops. The good thing about this lens is that you have a built-in 1.4x TC which can be engaged when required.

 

[Kris Tait]

Great work Christian...! Thanks for sharing

 

[Steve Phillipps]

For anyone interested in a long lens I've just listed a Sigma 300-800 for sale in the Marketplace.

 

[Robert Hofmeyr]

Hi all. I thought I'd revive this thread by posting my recently updated showreel. Footage from the Maasai Mara in Kenya and Mana Pools in Zimbabwe. All shot on Weapon Mg with a Sigma 300-800.

 

[Carlito Herdenberg]

Hey Robert,

That's beautiful! And it's difficult to not get jealous of being in Africa filming :smile5:

The lens seems to perform great. Even though I wasn't able to see it in the full resolution, as I'm on my laptop. I've been pondering upgrading from the 150-600mm to the 300-800mm. And seeing this sure helped making my mind up. As for stability... What tripod and fluidhead did you use?

Keep up the good work!

 

[scott devitte]

WOW and Double WOW. Mana Pools- there many years ago BR (Before RED). The E Ticket ride of the Zambezi.

 

[Robert Hofmeyr]

Hey Robert,

That's beautiful! And it's difficult to not get jealous of being in Africa filming :smile5:

The lens seems to perform great. Even though I wasn't able to see it in the full resolution, as I'm on my laptop. I've been pondering upgrading from the 150-600mm to the 300-800mm. And seeing this sure helped making my mind up. As for stability... What tripod and fluidhead did you use?

Keep up the good work!

Hi Carl, sorry for the delayed response, I've been on the road.

I love the 300-800 but it can be a real pain to work with. Suggest you rent one for a bit before purchasing. It's long and heavy and it does not have stabilization, so you need a really solid tripod/head. I am using an old Oconnor 515 on gitzo sticks and it is way too lightweight for the 300-800. I find myself stabilizing many shots in post as even a light breeze causes vibrations, and shooting out of a car is very tricky - I mount my head with suction cups to the door, but the weight of the lens, camera and head tends to bend the bodywork, making stable shots difficult. Luckily at Mana Pools you are allowed to get out of your car, which helps a lot.

I'm currently looking at upgrading to a canon 200-400. I'm sure I will miss the 800mm but with the built-in 1.4x tc I'll have 200-560 which is a nice range for wildlife (and I can add an external teleconverter for the birds). It has IS and is significantly smaller and lighter than the Sigma (the Sigma's case is a bit larger than carry-on dimensions).

Rob

 

[Robert Hofmeyr]

WOW and Double WOW. Mana Pools- there many years ago BR (Before RED). The E Ticket ride of the Zambezi.

Thanks Scott. Yes, Mana is a really wonderful place. And it hasn't changed much in the last 20 years. You should visit again.

I'm hoping to go back in Aug/sept, but I'm not sure yet if I'll have the time/money.

 

[Robert Hart]

Hi Carl, sorry for the delayed response, I've been on the road.

I mount my head with suction cups to the door, but the weight of the lens, camera and head tends to bend the bodywork, making stable shots difficult. Luckily at Mana Pools you are allowed to get out of your car, which helps a lot.

-----------------

Robert.


Here is a rough and ready device I mangled together for shooting out of a small Toyota Echo with soft door panels. To keep it stable whilst driving I made a tension bolt which uses a thin padded hook to attach under the door lower edge.

Creating the profiles with thin cardboard is tiresome but once it is done, the plywood has been cut and padded with thin foam strip, it seems to work well enough just hanging on the door.

Vehicles with less complex contours like Landcruisers, Landrovers, G-Wagons may be easier to build to. There is a mounting point just inside the door and one outside, the wooden bar which is lower on the outside.

The red colour was to make it less obvious against the car's red finish to the traffic police when I was shooting some background plates driving through the outer city I live near.

 

[Robert Hofmeyr]

Hi Carl, sorry for the delayed response, I've been on the road.

I mount my head with suction cups to the door, but the weight of the lens, camera and head tends to bend the bodywork, making stable shots difficult. Luckily at Mana Pools you are allowed to get out of your car, which helps a lot.

-----------------

Robert.


Here is a rough and ready device I mangled together for shooting out of a small Toyota Echo with soft door panels. To keep it stable whilst driving I made a tension bolt which uses a thin padded hook to attach under the door lower edge.

Creating the profiles with thin cardboard is tiresome but once it is done, the plywood has been cut and padded with thin foam strip, it seems to work well enough just hanging on the door.

Vehicles with less complex contours like Landcruisers, Landrovers, G-Wagons may be easier to build to. There is a mounting point just inside the door and one outside, the wooden bar which is lower on the outside.

The red colour was to make it less obvious against the car's red finish to the traffic police when I was shooting some background plates driving through the outer city I live near.

Thanks Robert, that looks like it's really solid. My problem is I need a solution that works on any car and that can pack up small, because I sometimes need to fly someplace and rent a vehicle. I also prefer to have the head outside the vehicle so I have more space inside and so I am able to pan 180 degrees and easily remove the camera and close the window on dusty roads. I've attached some pics of my current solution. I'm currently looking at getting a Gimpro door mount (https://www.outdoorphoto.co.za/trip...-support/door-brackets/gimpro-door-mount-mkII) and modifying it to accept my fluid head. The Gimpro has hooks that grip the edges of the door so the top horizontal bar is very secure.

Regards,
Rob

 

[Robert Hofmeyr]

Some grabs from a recent trip to the Kgalagadi National Park.

 

[Clark Dunbar]

Heya Rob - nice!