URSA Mini G2 Build

I’ve been using the URSA Mini G2 since last summer and thought I would share how I build out the camera for shoulder mount, EasyRig, and tripod work. Every job is different and what I build my camera rig around is driven by the requirements of any given job. So I’ll give some details, but I’m not saying this is the only way I configure my camera.

Wooden Camera Side Plate with V-mount Station. I use this to mount my wireless transmitter, and a side grip if needed.

Zacuto Top Handle mounted to a single Z-rail. I love this because you don’t have to add a top plate to your camera. It’s a simple design.

I think it’s important to note I’m also using the gear I have collected over several years. I would not recommend going out and buying everything at once. The only new items I bought specifically for the URSA Mimi G2 are the Wooden Camera Side Plate and the V-lock quick release. Plus, the RawLite OLPF internal filter. Everything else I’ve been using for some time.

For a more in depth review of the C&D Boxes check out this link.

Zacuto Gratical Eye, I’ve used this EVF with so many different cameras systems.

As you can see I build around the Zacuto Recoil. I have used this shoulder rig with a number of different camera brands. I love the versatility of this system, and recommend checking it out.

I’ll let the video inform you of how I build things, but I did want to give some resources that helped me make decisions on what to purchase to make the URSA Mini a better camera.

This review convinced me to purchase the RawLite filter. It was extremely helpful.

Here’s a list of the gear I used in this video to create my build.

• Zacuto Recoil

• Dual Grips

• Gratical Eye

• Zacuto Top Handle

• Wooden Camera Side Plate

• Wooden Camera V-Lock Base Station

• Wooden Camera C & D Box

Project Shot with the URSA Mini G2

Carl Zeiss Jena Review

This past year I started collecting a set of Carl Zeiss Jena lenses thanks to a review I ran across over at Vintage Lenses for Video. Alan did a great job of breaking down the technical specs of these lenses, and I highly recommend checking it out.

After using these lenses for a a bit, I thought I would offer my thoughts. This review is more about the aesthetic and real world use of these lenses. I really like the look I get from the Jena glass, but there are always challenges when adapting stills lenses for cinematic use.

COST

The main reason I started collecting a set of Jenas is because I was tired of the glass I’ve been using over the past few years. On bigger budgeted projects I’ll rent cine glass, but on smaller budgets I just use what I have. Most of my lenses are Canon L. They are good lenses, but very sharp and stale. I decided I wanted to find an affordable set of lenses that have a vintage vibe. So the Jenas were a perfect solution. They are affordable and look great.

I’ve put nearly $1,500 into modifying five lenses, and for me that’s a great deal. From a cost perspective these lenses are a no brainer. Of course the major cost is buying the lenses and the additional cost includes lenses adapters, follow focus gears (I use followfocusgears.com) and step up rings.

I de-clicked the lenses myself to save on costs. De-clicking is not as scary as it seems. I encourage people to try de-clicking a lens themselves. There are a ton of tutorials out there so check one out and see if it’s something you can do yourself. It will save you a lot of money. Check out the video below, and you can get more info on cine-modding lenses from this older post I did when modding Carl Zeiss ZF glass here.

This is a cine-mod tutorial I did a few years back for Carl Zeiss ZF lenses. Most of the information is relevant to cine-modding Jenas.. I will say that Jena lenses are a bit more complex than modern lenses, but the key is to take your time, be patient, and take pics as you disassemble your lens for reference.

MATCHING SET - RED MC

To create a matched set (a consistent look across all focal lengths) I stuck with the Red MC Jenas. MC simply means multi-coat. Multi-coating reduces flare and ghosting and improves contrast on a lens. In theory all red MC lenses have the same multi-coating as any other lens despite its focal length. This, in turn, creates a consistent “look”.

I will say my Carl Zeiss Biometar 80mm Red MC has a little more of a red tint than any of the other lenses in my collection. However, it’s nothing that can’t be fixed in post.

LOOK

I really like the aesthetic I get from Jena lenses. They are vintage, but not over the top vintage. So you get some of those imperfections, which creates more character in your image. I used my set of Jenas on a short film I directed and DP’ed this past summer. You can check it out below. It’s no scientific lens test, but a great real world test of what these lenses look like. The film was shot on a RED Gemini using a full range of Jena’s including 20mm, 35mm, 50mm, and 80mm.

BUYING

I purchased all five of my Carl Zeiss Jenas from E-bay. Be sure to purchase from a reputable seller. I had to return my first 20mm due to the aperture ring not working. Since these lenses were not originally sold in the U.S. you will probably be purchasing them from sources in Europe. So be sure the seller will cover return postage in case you have to make a return.

LINKS TO MODS

For your convenience here are a list of links to accessories I used to cine-mod these lenses.

Follow focus gears: Followfocusgears.com

Step up rings and caps: Simmods

Adapters: M42 to EF and M42 to FX

BEHIND THE SCENES - INTERVENE

Wooden Camera Director's Monitor Cage V2 Review

FIRST IMPRESSIONS

When I received my Wooden Camera Director Monitor Version 2 (DMCv2) I was excited to see its vast number of improvements. I've had the first version for several years. So when I found out Wooden Camera had a newer version that was priced the same as the first, I decided to check it out.

In the video above, I point out three of my favorite improvements. In this post I'll cover a few more things I was impressed with and suggest how to configure this DMCv2 best. In case you didn't watch the video here are my favorite improvements: 

1. Strap - it's thicker and more comfortable to wear around your neck. Plus, the strap now attaches at four points to the cage. This keeps the monitor facing up even when you are not holding on to the grips.  
2. Swing away plate - WC made a huge design improvement by creating a swing away rear plate. This allows you to access the back of the monitor and make all of your power and signal connection with ease.
3. New handles - you can now choose between wooden or rubber handles. It's always nice to have choices.

Photos by Rachel Mathew 

On occasion I had to pull focus for our camera operator. The DMCv2 allowed me to do this thanks to the newly designed strap that connects at four points to the cage, which keeps the monitor facing up. I like to call it "a hands free design."

OTHER IMPROVEMENTS

There are a couple of changes I didn't address in the video for the sake of time. I really like that Wooden Camera is now including a sun shade with the cage. I think the best part of this is you can use the shade as a protective cover for your monitor when it's not in use. When I'm in a hurry and rushing from location to location, I don't have time to throw everything I'm using in a case. With the hood covering the monitor I'm comfortable throwing the DMCv2 in the front seat of my vehicle and going. It's a major time saver.

Another added improvement is the wireless receiver mount. It's made specifically for the Teradek Bolt, but works fine with my Cine Gears Ghost Eye system. Any transmitter with a 1/4 20 mount on the bottom should work with this mount.

Being able to look at the monitor without having to hold on to it can free your hands up to pull focus if needed.

Mounted on the back plate is a Gold Mount battery plate and a Cine Gears Ghost Eye wireless receiver.

The design of the cage is universal and will work with a myriad of monitors and recorders. In fact, you can configure the DMCv2 as a dual monitor cage. Check out the video below to see different options and how to assemble the monitor cage.

CONFIGURATION

There are several ways to configure the DMCv2, but this is my favorite way. I use a SmallHD 702 Bright with my monitor cage and highly recommend purchasing the LEMO to D-tap kit so you can run the monitor off of a Anton Bauer, or whatever battery you use, to avoid using small batteries that you have to swap out every four hours. This way you have one power source for the monitor and the wireless receiver. It just makes life easier on set.

You also need a Gold Mount or V Mount Dual D-tap mount for the back for the monitor cage. They go for $125 and are not included with the kit. One of these battery plates is a must if you want to configure the DMCv2 correctly. 

The price of the DMCv2 is $299 and with the added cost of the LEMO kit and a battery plate you are looking at a total of $703. If you skip the LEMO kit you save yourself $280. I think the cost is worth the ease of powering from one source, but budget is reality.

To track with our talent during a jogging scene we used a golf cart. Our camera operator was using a Movi and I directed with the help of the DMCv2. See the short film below to view the scene.

FINAL THOUGHTS

I find that when using a gimbal I need a wireless monitor solution and I think the Wooden Camera Director's Monitor Cage Version 2 is the best way to go. When you don't have time to set up a studio monitor or if you are on location shooting where there's not a power source for a monitor the DMCv2 is really handy. I'm getting a lot of use out of mine.

Below is a short film I recently directed. I used the DMCv2 on all of our gimbal shots.

BEHIND THE SCENES OF LEFT TURN II

O'connor 1030D Review

I had the opportunity to use the O'connor Ultimate 1030D tripod system on a recent short film I DP'ed and directed. I needed a beefier system for my current camera set up and I will say this system did the job and more. The current price of the system I was using is $9,134.25 at B&H.  

This tripod was showcased at NAB 2012 so it's nothing new to the market. I just haven't seen very many reviews and thought I'd share my experience with it. You can get all the tech specs for the system on O'connor's site.

The build quality of the 1030D is top notch, and that's what I expect from O'connor. You don't have to look too far to find vintage 1030's all over the place. This is a testament to how well built O'connor's tripod systems are. This latest version of the 1030 borrows a few features from it's bigger brother the 2575. The main one being a step less counter balance crank, which is located on the back of the head. It's simple to use and you can dial in a counter balance from 0 to 30 lbs. This head will work with the lightest mirrorless camera to a mid-weight camera like the Canon C300 MkII.

I love putting the 1030D head on a dolly. My current tripod head doesn't really support the payload of my current camera set up, but this head can handle the weight with no issues. Plus, because this head is so easy to operate making complex dolly moves are made so much easier. The 1030D comes with a 100mm bowl base, but can also accept a Mitchell base or 150mm ball base if needed.

This is by far the best tripod I've used for narrative film work. I could see some documentary DP's using this tripod, but there are probably lighter systems out there that would be better suited for faster setups. I highly recommend this tripod system for anyone shooting a cinema style.

Below is the film where I utilized the O'connor Ulitmate 1030D. I'm guessing 85% of the shots were done using the O'connor system.

BTS Pics by Rachel Mathew Photography.

Wooden Camera C & D box Review

Why These Boxes

My go to camera at the moment is the Canon C300 MkII. It only has one SDI output for monitoring but in a larger production I need more options for people on set to see what's on camera. The DP needs a monitor for lighting, the camera op needs an EVF,  the AC needs an onboard monitor and lets not forget about a client monitor. My solution for this was to purchase a Wooden Camera C-Box. However, the more accessories added to a camera the more powering options are needed to make those things work which was why I also purchased a Wooden Camera D-Box. The two boxes go hand in hand.

Wooden Camera makes a D-box specifically for the C300 MkII, but I chose to purchase the more generic versions of these boxes. The cool thing about the C300 D-box is the LANC control board inside the D-Box that communicates with the camera so that any ARRI standard start/stop can be used in the 3pin Fischer ports. This makes adding a handle with an ARRI start/stop button much easier and broadens handle options. The down side is that this option is much more pricey than the more standard D-box I purchased.

I'm not sure how long I'll own a C300 MKII so I wanted a configuration that will work with other cameras when I decide to make a change. I also had Wooden Camera wire my boxes together. This eliminates an extra gold mount between the two saving space and weight. They did this free of charge!

Features

The D-box I purchased can be modified as needed. This way you don't have to send your box back to Wooden Camera to do the work. It seems like anytime I send something off I get a job and need that piece of gear. Since the D-box has a modular design there's no wasted time shipping your box in. The video tutorial below from WC's site shows how easy it is to change out power connectors.

The C-box cannot be modified, but it's not really something that is needed. It offers one HDSDI in and one HDMI in. There are three SDI outs and two HDMI outs. An interesting limitation is you can only use HDMI or SDI signal input. However, all the five outputs (2 HDMI and 3 HDSDI) work simultaneously. So the C-box does crossconvert the input signal.

Pricing

The D-box I purchased was $550 and the C-box was $599. On top of that I have a WC Gold Mount that powers my camera that cost $225. That's a total of $1,375 I have invested in power and signal distribution. That may seem a bit steep, but you want clean quality power and signal distribution at all times. I've been using these boxes for the past two years and have had no issues. I really think these boxes are worth their price.

Note

I was not commissioned by Wooden Camera to do this review. From time to time I review gear I've used and own. I hope this helps any of you working in the filmmaking world.

Zacuto Gratical Eye Review

I've been using the Zacuto Gratical Eye for about a year now and thought I would give it a quick review. I've really enjoyed using a number of Zacuto's EVF's. I had the Gratical X for a while, but when I upgraded to the Canon C300 MkII I decided to upgrade my EVF. The Gratical X is great, but I liked the smaller design of the Eye and I no longer needed HDMI, which the Gratical X offers but the Eye does not.. I also like to power my camera and accessories off of one source. The Eye uses a  Lemo connection so I'm able power it off of an Anton/Bauer battery.

Features

The Gratical Eye is loaded with features. I'll list the ones I use most, but if you want a comprehensive list you can visit Zacuto's site. 

I love that I can have a waveform and histogram always active when I look in to the viewfinder. That way I'm not searching through a menu to find the most essential tools to help me make correct exposures.

I also use redline peaking when I find it hard to focus. I just have to tap the top joystick once to the right and this feature turns on. And to turn it off you just tap again. There are four presets you can program the Eye to have at the touch of a finger using the joystick. This is a big time saver.

I also us the custom LUT feature. Zacuto has some preset LUT's included with the Eye, but you also have the option to load your own LUT's into the EVF. Since I shoot in CLog most of the time it's nice to use a LUT to bring back some contrast into the image I see coming from the camera.

Proximity Sensor

A unique feature of the Gratical Eye is the proximity sensor. The Eye does not have an ON/OFF switch. In order to prevent screen burn in of the OLED screen this sensor will turn off the OLED when it does not sense movement near it. You can adjust the time the sensor uses to turn the screen off. Mine was set to 5 seconds when I received it, but I found that was too short a time and the screen would shut off while I was shooting. I've since adjusted the time to 30 seconds and have had no issues since.

Who's the Eye for?

The Eye accepts an SDI signal. If you want to use it with a camera that only has HDMI out you will need an HDMI to SDI converter, which is doable but not ideal. But it's perfect for cameras with SDI out like the Canon C300 MkII, URSA Mini, Sony FS7, etc.. If you own multiple cameras or rent different cameras for various projects I think this is a great EVF to invest in. 

Here's a recent project I shot using the Gratical Eye.

Proper Coffee

In an ideal world I prefer not to direct and DP the same project. I want to really focus on one job and do it well and not fight spliting my time between roles. Sometimes you just don't have the budget to hire a cinematographer. So when I started working on this project I tried to keep things as simple as possible when it came to production. We had to shoot while the shop was open due to scheduling. Another reason I wanted to keep our set ups simple. The reason I could get away with minimal lighting was because the store front was completely made up of windows that allowed in some great light. The biggest challenge was not what lights to use, but what do we use to shape the existing light.

Dolly Shots

To start the day I wanted to get the most complex shots out of the way, and these were two dolly set ups. We used a 12x12 quarter grid to slow the light coming in the far background window. Then we added a 4x4 quarter grid on a C-stand so we could move it around our hero just to soften the light on him a bit.

Close Ups

We moved in for close ups next. Basically my plan was to move the camera counter clockwise around the room. I was trying my best to be efficient with our set ups. We had a small crew, but skilled. Here we added a Quazar to increase the reflections off of the espresso machine and back light the steam. We didn't need a ton of light so we only used one.

Flag Montage

This set up was simply modified from what we already had going on in the room. We moved the 4x4 quarter grid in close to our subjects to create a softer look and then put a 4x4 floppy on the opposite side for negative fill. The key was not to nudge the camera because I wanted a very quick locked down montage of differnt people and drinks.

Over the Shoulder

We moved our 12x12 quarter grid to the other side of the room for the slo-mo, handheld, over the shoulder shots. We used the 4x4 quarter grid with a Quazar to supplement the existing light. We were further from the windows now and needed a bit of punch on our talent. Not shown in the lighting diagram are a couple of floppies outside which were used to block light on the back wall to slow its exposure. See the pic below. We also turned the 4x4 set up about 45 degrees on the reverse angles to better light our hero. 

Macro Shots

Finally we ended the day with a series of high speed (120fps) macro shots. I knew our crew could start packing up gear not in use as I shot. I built a small on location studio in the corner of the shop and used a couple of Quazars to top and side light the drinks I was working with.

Gear Used

Here's a list of what gear was used during the shoot:

• Canon 300 Mark II
• Zacuto Recoil
• 24-70mm f/2.8 Canon
• 100mm f/2.8 Macro Canon
• Dana Dolly
• 12x12 Quarter Grid
• 4x4 Quarter Grid
• 2 - Floppies
• 2 - 4ft Quazar Z-LED S CrossFade
• SmallHD 502

Conclusion

We knocked out all five of these set ups in one day. In the story Noah talks about making coffee at home. So I scouted his apartment and knew I could shot what I needed by myself. I essentially blacked out three of four windows in his kitchen and used only one window as a side light.

I'm really happy with how this project turned out. My buddy Dave Docimo, a talented director, edited and color graded it and I added the sound design. Not every project you showcase, but this is one project our production company, Wavelengthfilms, is proud of. We'll have more BTS pics up on the site soon.

If you have questions please feel free to ask.

Anton Bauer Digital 90 Review

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Batteries aren't the most sexy thing to review, but hey, we all need power for cameras, EVF's, monitors and the like. Without them we can't shoot. So I've been using the Anton Bauer Digital 90 for the past year. It's the latest design that A/B released back in 2014. For context purposes I'll let you know I've used these batteries with the Sony A7s (a bit of an overkill for that camera) and the Canon C300 MkII. It has preformed well for me so far. Having an external battery gives me more run time with my cameras and I don't have to change batteries as often with the manufacuture's smaller battery options.

The new design of the A/B Digital 90 is slightly bigger than expected, which is odd. Newer designs are usually smaller in the increasing digital age. However, Anton Bauer chose to increase the size for safety reasons. The bigger casing allows for the lithium ion cells to be individually wrapped, which prevents the potential of fire or blowing up. Despite the increased size the new design is actually lighter. This is always nice if you're a camera op.

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I use the Digital 90 to simultaneously power my C300 MkII and the Zacuto Gratical Eye.

Some of the other improvements in the new design are the digital read out is simpler and clearer to read. The exterior has a rubber coating for easier handling and impact absorption in case you drop it. Another new feature is a built in P-tap. This is a big deal. If I need to run another device off of my battery I don't have to buy a dedicate battery plate or a distribution box. It all depends on your needs, but I find myself using this feature to power an on camera monitor when needed.

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The on battery p-tap is located on the right side of the battery for easy access.

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The large digital display window makes it easy to see how much power remains.

Some of the cons on the new design are the awkward shape and bulky size. I assume it's for ergonomics. I wish the design was smaller verses bigger, but safety first, right?

If you fly a lot be aware of the restriction limiting two of these batteries in your carry on during air travel. One on your camera and another in your carry on. This is fairly limiting compared to the PAGlink battery which is TSA approved and unlimited in quantity in a carry on. However, Anton Bauer just updated their Quad Charger so one can discharge batteries for airline travels. Here's a link to their press release for more info.

I also use the Digital 90 with my SmallHD AC7 OLED monitor, wireless transmitter and the Wooden Camera Director's Cage. This set up allows me to wander around a location easily and freely without using cables. I hate cables. The A/B Digital 90 preforms well with this set up.

One really impressive feature of this battery is the recharge time. It's on of the shortest recharge times on the market. At least from the research I've done. Here's a great video comparison of various battery bricks if you really want to dig deep into comparisons: watch here.

My experience with the A/B Digital 90 has been good. The cells on this battery are supposed to last a very long time and the price is competitive with other offerings on the market (they sell for $269.10 at B&H). There are far more competitors now days in the external power business and I think A/B sees that.

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When surveying DP and Camera op friends I find an overwhelming majority of them use Anton Bauer batteries. The company has a long standing reputation for quality and their customer service seems to be top notch.

Follow Focus Gears

For the past year I’ve been using seamless follow focus gears made by Sean at followfocusgears.com so I decided I would do a quick review. I hope it helps you if you are searching for a seamless gear solution.

Go Seamless
Most of the cheaper follow focus gears out there have some sort of stop or joint where the two sides of the gear meet. However, this joint eventually ends up hitting the follow focus gear, and I find this annoying. (If you use Canon glass you know what I mean.) After switching to a seamless solution, I no longer have this issue. It’s one less thing I have to worry about when shooting, and this lets me focus on more important things like composition, light, etc.

I use my Canon 24-70mm more than any other lens I own. A seamless gear is a must in my opinion.

Cost
For the past few years I’ve used Zacuto’s universal ZipGear. I use them for when I rent lenses so I can add a removable gear when needed, but the connector used to tie the gear ends together gets in the way on EOS glass. Zacuto’s Zip Gears run for $68 and followfocusgears cost $35 on average. There are still cheaper gears out there. Wide Open Camera makes a gear that uses zip ties to hold the gears in place which cost $21.

An example of how a follow focus with a connector can jam a follow focus gear.

Lenses
I have a followfocusgears.com gear on every lens I own. I use my Canon 24-70mm f2.8 more than anything for run and gun shooting. I think a seamless gear is a necessity on this type of lens.

I also use Zeiss ZF primes when shooting narrative type stuff and interviews. Although the Zeiss glass has hard stops, I still prefer a seamless gear as opposed to jointed gear because of stability. Any gear that is tied around a lens will eventually loosen up and slip. I haven’t had this problem at all with followfocusgears.

• Zeiss Distagon T* 25mm f/2.0 ZF.2 Lens for Nikon F Mount
• Zeiss Makro-Planar T* 50mm f/2 ZF.2 Lens for Nikon F-Mount Cameras
• Zeiss Planar T* 85mm f/1.4 ZF.2 Lens for Nikon F-Mount Cameras
• Zeiss Makro-Planar T* 100mm f/2 ZF.2 Lens for Nikon F-Mount Cameras

This is my Zeiss 85mm f/1.4 ZF mounted with a followfocusgears.com gear. Note how low profile the gear is.

Conclusion
I highly recommend trying out one of Sean’s lens gears. I gave one a try and then put them on all of my lenses. If you can’t find a gear for a lens you own on Sean’s site, just contact him and he can make a custom gear for you.

For all the tech specs you need check out his site: followfocusgears.com

Here’s a project I shot using followfocusgears. They came in handy when I was shooting handheld dolly type shots.

Gripper Review

I've been using the Zacuto Gripper for the past couple of months and thought I'd do a quick review. The first thing I need to say about this battery system is it's very affordable! It only costs $260 for a 75W battery and $90 for the charger. That's a huge win for anyone in the market for an external power solution. I've used it mostly with my Sony A7s to power the Zacuto Gratical Eye EVF, but could also see this as a way to power my camera with the appropriate P-tap dummy battery. 

The Gripper is fairly light weight (1.5 lbs), at least compared to my Anton Bauer Digital 90 (2 lbs). It has two P-taps, one on the front and another on the back, as well as a LED fuel gauge so you know how much power you have remaining

The Gripper mounts horizontally to a rig via two 15mm rods and has two P-taps so you can power multiply devices.

One thing I really like about the Gripper system is I don't need any accessories to mount it to my rig besides a couple of 15mm rods. There's no need for a cheese plate and you don't need a battery mounting plate, which usually runs you anywhere from $150 to $300. So when I use the Gripper it's much easier to work with, which saves me time.

Another huge win is this battery is UN approved so you pack it in your carry on luggage and can fly with it.

Who will get the most out of the battery system? I really see the Gripper being used mostly by folks shooting with DSLR's, mirrorless cameras and smaller prosumer cameras like the Canon C100 MkII. If you are using larger cameras like the Alexa or any RED camera you are probably going to use a gold mount or V-mount system. The Gripper is perfect for a small to medium sized rig. If you are like me, and have invested in a Zacuto Recoil rig the Gripper is a great add on.

The Zacuto Gratical Eye powered via the Gripper and mounted to the Indie Recoil.