RED's 'Journey' to Manila

[David Battistella]

Gibby,

This is great news. Thanks for sharing. I knew you must be on a big shoot since you haven't seemed to be online much lately.

Congrats!

David

 

[Steve Gibby]

Thanks David...busy times for sure! Thanks to Red's cool products, the last three years have been the most enjoyable years of my career by far :thumbup:

I'm just really fortunate to make a living in the genres which are essentially my regular lifestyle...life is good

 

[Brian Ferguson]

This is so cool Steve! I just marked it for record on my DVR looks like it is playing at 9 am Monday here in Irvine on cable. I worked in Manilla once it is an interesting place to do production, mainly because of the traffic jams.

 

[jimhare]

Congrats Steve, that's great. I have the Journey DVD with me here, picked it up on my last trip to the U.S. for Red Day in Feb.

 

[Steve Gibby]

This is so cool Steve! I just marked it for record on my DVR looks like it is playing at 9 am Monday here in Irvine on cable. I worked in Manilla once it is an interesting place to do production, mainly because of the traffic jams.

Thanks Brian! We loved Manila, and as you say the traffic jams are legendary - but the food is great, and the people friendly. It was my second time in the Philippines - I'd go back in a heartbeat.

I think you'll really like this HD version of Journey in Manila..

 

[Steve Gibby]

Congrats Steve, that's great. I have the Journey DVD with me here, picked it up on my last trip to the U.S. for Red Day in Feb.

Thanks Jim. That original standard def DVD is OK, but IMO this new re-cut and de-noised HD version is way better than that first version. This 1080p Blu Ray version should be shipping sometime in the near future. If you get a chance, get one. It puts you right there at the event. The edit pace is spot on, the audio very clean, and naturally the camera work is good

Cheers Mate...looking forward to another trip down to Oz sometime soon :thumbsup:

 

[Petri Teittinen]

Sounds like one Blu-ray I have to get.

 

[Paul Harding]

Steve.
Was the 18 200 nikon a VR version?
Paul

 

[Steve Gibby]

Steve.
Was the 18 200 nikon a VR version?
Paul

It has been a while since the production, but for the long lens stationary cameras, and the dolly camera we used Optimo 24-290mm (12x) zooms. For the on-stage jib and shoulder held by-drummer cameras we used Red 18-50 zooms. For the two stage front, shoulder held cameras me and Blair used Nikon 18-200 zooms on ET Mantis rigs. We also used a Nikon 18-200 zoom on the 40" jib. These 18-200 lenses were VR versions, with VR off.

The reasons for using the Nikon 18-200 were straightforward. Let me explain. The venue was very big, and beyond recording to drives for the 3 hour performance we also needed to have each camera hardlined to the iMag big screen at the venue for live switching. For the shoulder held stage front cameras we needed the shooters to be very mobile, constantly walking back and forth on a stage-front platform, covering the thrust ramp, all along the stage, and up into the wings.

The needed stage front shots called for a wide range in focal length, from very wide to medium long tele. One minute we'd be full wide, the next we'd be pushing in to a hand on a fret board. There are no lightweight, shoulder holdable cine lenses which have the small size and extreme focal range we needed for those cameras. The Nikon 18-200 has the focal range we needed, and has surprisingly good optics. We were lighting to 5.6 so using a relatively slow zoom like the Nikon 18-200 was not a problem. The Nikon 18-200 can tend to have a slightly sticky zoom ring, so the gears and motors we brought wouldn't satisfy our needs. But both myself and Blair are very experienced EFP-style shooters, and we were both able to manually control the Nikon 18-200, zooming & focusing & irising similarly to how we would with a B4 2/3" EFP/ENG zoom - except all zooming was manual, and we had to shoulder operate for 3 straight hours non-stop. It was grueling! B4 23/3" HD EFP/ENG lenses were not an option because we wanted all ten cameras to shoot 4k.

For the next music multi-Red concert we did, Heart in Seattle, which was a smaller venue, for stage front I used a Red with a Birger Canon mount, Canon 24-70 f2.8L lens, a custom adapted Canon B4 2/3" HD zoom servo zoom motor and grip, a prototype Red Bomb EVF, and an ET Mantis. Thus I shot exactly as I would when shooting B4 zooms - left hand on the focus, right operating the servo zoom rocker switch. The other stage front camera (Blair) used a Nikon 24-70 f2.8 with gears and a FIZ unit to power the zoom, and an ET Mantis.

Looking forward, for the stage front cameras on our music productions, we'll use Epic X, and when they're available Red Electronic zooms for their probable light weight, good optics, faster speeds, and probable ability to easily power the zooming. The lighter the weight on a camera setup, the more mobility is enhanced - which is critical for this type of shoulder held production.

This has been along explanation, but I have a little time this morning so I thought I'd explain the whole thought process on this, along with the focal length and utility considerations which went into using the Nikon 18-200 for three of the 10 cameras. The 40' jib camera also needed a very broad focal range from extreme wide to long tele, thus the 18-200. The motors on the jib were easily powerful enough to power the sticky zoom ring on the 18-200.

When you watch the Journey in Manila program you'll see how all these different lenses and accessories came together to perform very well. As a DP for the program I approached the equipment needs with an open mind, using both cine and 35mm stills equipment, and both cine and EFP shooting techniques, depending on the camera setup and location. High level recording executives in the control room (and since then) raved about the results - so we definitely accomplished our goals as a crew.

Hope the above helps you...

 

[Ketch Rossi]

Finally I found this post, was looking for it since you told me about it ;~)

Really a fantastic job, I can only imagine how much fun you and Pam had on this Trip/Job!!

 

[Steve Gibby]

Thanks Paisano Ketch! We miss you and look forward to hooking up sometime soon in Southern California. We really enjoyed working with you on the Sirens of Treasure Island gig in Las Vegas. We're looking forward to doing many more productions with you

Me and Pam had a fantastic time on that production, and with the same crew on the Heart concert gig. The Executive Producer (Dan Barnett) is a great guy and excellent producer. The entire crew worked as a team - everyone checked their egos at the door and simply worked their tails off to do our best. In 30+ years in this industry I have to say that crew and those productions have been among my very favorite. When everything clicks on all cylinders this business can be pure joy!

 

[Ketch Rossi]

Thanks Paisano Ketch! We miss you and look forward to hooking up sometime soon in Southern California. We really enjoyed working with you on the Sirens of Treasure Island gig in Las Vegas. We're looking forward to doing many more productions with you

Me and Pam had a fantastic time on that production, and with the same crew on the Heart concert gig. The Executive Producer (Dan Barnett) is a great guy and excellent producer. The entire crew worked as a team - everyone checked their egos at the door and simply worked their tails off to do our best. In 30+ years in this industry I have to say that crew and those productions have been among my very favorite. When everything clicks on all cylinders this business can be pure joy!

I miss you guys as well, and we will definitely hook up sooner then you think.. go something cooking with the guys at Pier59 and will definitely Love to talk to you and Pam about few things going on, so hopefully you guys will have a chance to stop by soon.


When I hear things like what you just said about people of different age, Experience, Trade, and nonetheless Countries, makes me very happy, that things like EGO don't get on the way of making this kind of unique events, a truly great and pleasant experience, again Great Job Steve, can't wait to meet up and see Pam's photos!

 

[Steve Gibby]

Thanks Ketch...we'll talk soon

 

[Scott Crawley]

I can't wait to see this.

Did you have a heated EVF in Manilla, if so what? If not, how do you manage condensation in the viewfinder when shooting in the heat?

 

[Steve Gibby]

I can't wait to see this.

Did you have a heated EVF in Manilla, if so what? If not, how do you manage condensation in the viewfinder when shooting in the heat?

Stock Red EVFs were used on all cameras. The event started at 7:00pm. The temperature was around 77 degrees Fahrenheit, and the humidity wasn't excessively high. We had no problems with condensation in any of the 10 Red cameras or the viewfinders.

When using any electronic camera system in the tropics, if the cameras are in a cooler, air conditioned environment (hotel, control room, etc.), we take them outside, let them acclimate to the ambient temperature where we'll be shooting, before we fire them up. We've seldom had any problems with condensation in cameras or viewfinders when we follow that procedure.

Because of the genres me and my crews work in (adventure travel, alternative sports, nature, mobile docs, etc.) we're constantly using Red and other cameras in extremes of heat, cold, dust, moisture, etc. For that, an ounce of prevention is worth a pound of cure. We protect our cameras well and anticipate exactly what we'll need for each environment we shoot in.

When people see my Red cameras they're usually blown away by the good condition of them - especially because of the challenging conditions we regularly shoot in. Because we take good care of my camera systems they take good care of me in return.

 

[Paul Harding]

It has been a while since the production, but for the long lens stationary cameras, and the dolly camera we used Optimo 24-290mm (12x) zooms. For the on-stage jib and shoulder held by-drummer cameras we used Red 18-50 zooms. For the two stage front, shoulder held cameras me and Blair used Nikon 18-200 zooms on ET Mantis rigs. We also used a Nikon 18-200 zoom on the 40" jib. These 18-200 lenses were VR versions, with VR off.

The reasons for using the Nikon 18-200 were straightforward. Let me explain. The venue was very big, and beyond recording to drives for the 3 hour performance we also needed to have each camera hardlined to the iMag big screen at the venue for live switching. For the shoulder held stage front cameras we needed the shooters to be very mobile, constantly walking back and forth on a stage-front platform, covering the thrust ramp, all along the stage, and up into the wings.

The needed stage front shots called for a wide range in focal length, from very wide to medium long tele. One minute we'd be full wide, the next we'd be pushing in to a hand on a fret board. There are no lightweight, shoulder holdable cine lenses which have the small size and extreme focal range we needed for those cameras. The Nikon 18-200 has the focal range we needed, and has surprisingly good optics. We were lighting to 5.6 so using a relatively slow zoom like the Nikon 18-200 was not a problem. The Nikon 18-200 can tend to have a slightly sticky zoom ring, so the gears and motors we brought wouldn't satisfy our needs. But both myself and Blair are very experienced EFP-style shooters, and we were both able to manually control the Nikon 18-200, zooming & focusing & irising similarly to how we would with a B4 2/3" EFP/ENG zoom - except all zooming was manual, and we had to shoulder operate for 3 straight hours non-stop. It was grueling! B4 23/3" HD EFP/ENG lenses were not an option because we wanted all ten cameras to shoot 4k.

For the next music multi-Red concert we did, Heart in Seattle, which was a smaller venue, for stage front I used a Red with a Birger Canon mount, Canon 24-70 f2.8L lens, a custom adapted Canon B4 2/3" HD zoom servo zoom motor and grip, a prototype Red Bomb EVF, and an ET Mantis. Thus I shot exactly as I would when shooting B4 zooms - left hand on the focus, right operating the servo zoom rocker switch. The other stage front camera (Blair) used a Nikon 24-70 f2.8 with gears and a FIZ unit to power the zoom, and an ET Mantis.

Looking forward, for the stage front cameras on our music productions, we'll use Epic X, and when they're available Red Electronic zooms for their probable light weight, good optics, faster speeds, and probable ability to easily power the zooming. The lighter the weight on a camera setup, the more mobility is enhanced - which is critical for this type of shoulder held production.

This has been along explanation, but I have a little time this morning so I thought I'd explain the whole thought process on this, along with the focal length and utility considerations which went into using the Nikon 18-200 for three of the 10 cameras. The 40' jib camera also needed a very broad focal range from extreme wide to long tele, thus the 18-200. The motors on the jib were easily powerful enough to power the sticky zoom ring on the 18-200.

When you watch the Journey in Manila program you'll see how all these different lenses and accessories came together to perform very well. As a DP for the program I approached the equipment needs with an open mind, using both cine and 35mm stills equipment, and both cine and EFP shooting techniques, depending on the camera setup and location. High level recording executives in the control room (and since then) raved about the results - so we definitely accomplished our goals as a crew.

Hope the above helps you...

Thank you very much Steve for that excellent breakdown.
Paul

 

[Scott Crawley]

Stock Red EVFs were used on all cameras. The event started at 7:00pm. The temperature was around 77 degrees Fahrenheit, and the humidity wasn't excessively high. We had no problems with condensation in any of the 10 Red cameras or the viewfinders.

When using any electronic camera system in the tropics, if the cameras are in a cooler, air conditioned environment (hotel, control room, etc.), we take them outside, let them acclimate to the ambient temperature where we'll be shooting, before we fire them up. We've seldom had any problems with condensation in cameras or viewfinders when we follow that procedure.

Because of the genres me and my crews work in (adventure travel, alternative sports, nature, mobile docs, etc.) we're constantly using Red and other cameras in extremes of heat, cold, dust, moisture, etc. For that, an ounce of prevention is worth a pound of cure. We protect our cameras well and anticipate exactly what we'll need for each environment we shoot in.

When people see my Red cameras they're usually blown away by the good condition of them - especially because of the challenging conditions we regularly shoot in. Because we take good care of my camera systems they take good care of me in return.

Thanks for the reply. I'm glad it wasn't too hot or humid for you, but since you've shot in plenty of heat and humidity what do you do when it comes up? I understand acclimating the gear, my issue when I'm working hard with a camera on my shoulder is sweat. Often even touching the EVF to my forehead without sealing the eyepiece to my face will cause me trouble. This is particularly true in an air conditioned venue. That's why I'm interested in a Bomb.

When scuba diving I've never found a product that keeps a mask clear better than a bit of spit, so I've never even considered using any of those. It would he kinda daft to rub spit in the EVF, so I'm always looking for other ideas.

Thanks again.

 

[Steve Gibby]

Thanks for the reply. I'm glad it wasn't too hot or humid for you, but since you've shot in plenty of heat and humidity what do you do when it comes up? I understand acclimating the gear, my issue when I'm working hard with a camera on my shoulder is sweat. Often even touching the EVF to my forehead without sealing the eyepiece to my face will cause me trouble. This is particularly true in an air conditioned venue. That's why I'm interested in a Bomb.

When scuba diving I've never found a product that keeps a mask clear better than a bit of spit, so I've never even considered using any of those. It would he kinda daft to rub spit in the EVF, so I'm always looking for other ideas.

Thanks again.

Heat and humidity is tricky to work in no matter what camera system you're using. Beyond the temperature acclimation precautions I already mentioned, there are other techniques we use. As you mentioned, sealing your face to the EVF eye cup will bring condensation to the outer diopter glass cover. When that's happening, try a technique where you get your face very close to the EVF rubber cup, but not quite close enough to seal the gap between your face and the rubber. That allows you to see the image of the EVF well, but in the process also allows air to circulate onto the diopter glass cover - thus eliminating fogging of the glass. With practice this becomes almost 2nd nature in operating.

On tripod this is easy to achieve, but shoulder held it's more of a challenge because your tendency in a 3-point shoulder hold (shoulder, right hand on either lens or handle, left hand on lens focus) will be to use your right hand to pull the rig down onto your shoulder and up against the right side of your head. To leave a little space between your face and the eyecup you simply put less pulling pressure on your right hand, get your cheek against the side of the camera, and keep your eye/face a little farther away from the eyecup. In humid environments I keep my face as far away from the eye cup as possible, while still being able to clearly see the EVF image. That usually involves twisting the diopter adjustment to focus the EVF better for that distance.

I've also found that if I use the soft cotton eye cup covers, available from various venders, that they tend to absorb the moisture which may form within the space between the eye cup and the diopter glass. They're cheap and work well.

Beyond the above, as a seasoned sports, adventure travel, nature, and risky-locations documentary shooter I've always kept my off-eye open so I can see foreign objects or dangerous situations coming my way early. It takes a while to get used to that, but it has great benefits - like keeping me from getting hit by things, tripping, falling, etc.

 

[Steven Caesare]

Steve-

Got a chance to watch this after I DVR'ed it a while back. Excellent work!

I'll admit to looking for you and the cameras more so than watching the performance at first, but they were easy to spot.. you guys were everywhere!

I'd love to catch this on BluRay (or see it in 4K!), as the satellite HD channel compression really didn't do it justice, I'm sure.

Congrats again. Oh, and Journey has an amazing collection of hits...

-sc