![]() Last year was the first year that focus pulling started to get the injection of modern technology that has hit every other area as Moore's Law, cheaper manufacturing and a bigger market impact the tools we are able to use.Īndra previewed a device to allow you to follow an actor by attaching a sensor to then and letting it just follow the sensor around. New cameras, new sensors, new resolutions, new ways of moving the camera. NAB 2015 offered up it's usual host of new products and once again is the technical pivot that the film industry tips on. I think I'll use this with a 2m reach most of the time but think with the tension of the outriggers it'll make 5m easily. It doesn't matter which length of carbon goes where so I can make it short, long, with a short backswing or long one. Mark 2 will have a pivot mechaninsm with brakes, friction and the parallelogram.Ĭarbon sections are sleeved in a keyed alloy part that locks into place with the central mounting point, camera stage and weight stage using steel aircraft pins. So here's a render or 3 of the OB1 jib, this mark 1 version goes straight on to the Oconnor dovetail. I also find that I have great pan & tilt heads on set that frankly are more heavy-duty than the cameras we use these days, so why design a complicated pivot when an Oconnor 5275 Head is always at hand. ![]() It's ideal, but no longer neccesary as the gimbal doesn't mind if it's not level. With the Movi Pro on the end of a jib, it's actually not necessary to have a parallelogram to keep the camera stage level. ![]() I thought about designing extra out-riggers for it, but then once I started thinking about it I felt that I could design my own jib, more specifically for my needs. As I shoot mostly drama and like a solid crane move, I was finding the Feather Crane a little whippy.
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