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Dumb Dog Production is a full-service Film Production Company. We hope you find the site informational and answers any questions you might have about the entertainment industry.

We do not claim that this site is a be all and means to an end, but to help guide and learn how the entertainment industry work.

Please do not hesitate to contact us for any questions.

Thank you,

Sherri (Bisbey) Rowe / Bruce Bisbey / James Bisbey

Email: brucedumbdog@gmail.com Dumb Dog Production Phone: +1 319-930-7978 Dumb Dog Productions LLC / Bus Lic.: 5084725 https://dumbdogproductions.com/ https://dumbdogproductionsllc.blogspot.com/ https://www.facebook.com/DumbDogProductionsLLC/

Monday, April 30, 2018

5 WAYS TO USE A GIMBAL AND 13 ESSENTIAL MOVES (In the Entertainment industry. 5 WAYS TO USE A GIMBAL AND 13 ESSENTIAL MOVES)

Birdycam Lite Gimbal / Photo: Credit Grip Up


5 WAYS TO USE A GIMBAL AND 13 ESSENTIAL MOVES (In the Entertainment industry. 5 WAYS TO USE A GIMBAL AND 13 ESSENTIAL MOVES)


5 Ways To Use A Gimbal And 13 Essential Moves

Gimbals are amazing. They’re exciting to use, relatively easy to figure out, and they expand your filmmaking style and the types of shots you can acquire to a countless degree. You can add tons of production value at relatively little cost to your gear kit, all by just adding a gimbal. Immediately, your shots will reveal more life, more exploration, and more creativity.

There are definitely many nuances and subtleties that need to be taken into account before and as you’re shooting with a gimbal, though, along with the overall concepts you’ll need to get the best footage possible. And even though it’s a fun tool, it’s certainly not a toy, and doesn’t work for every application — so read on to become a gimbal ninja (gimja? ninbal?).

Here are the five ways to use your gimbal.

1.       Steadicam-Style Tracking Shot
This is the most obvious one. Use the gimbal to follow your subject around to capture tracking shots. Try to keep your subject center frame while moving around to keep from seeing excessive bobbing up and down. It’s a trick to keep your audience from looking at the edge of the frame to see any up-and-down movement.

2.       Smooth Pans and Tilts without a Tripod
Use your gimbal like you would use a tripod. If you working on a run-and-gun project and have trouble quickly extending and moving a tripod, you can capture a lot of similar movements on a gimbal. You can shoot tilts and pans pretty easily. You don’t even have to use the gimbal’s joystick. For the best results, use your body to move the camera and gimbal system.

3.       Steady Still Shots without a Tripod
You can also use the gimbal to try to eliminate any movement, like a standard tripod shot. This requires you to be as still as possible, and if you notice a little bit of movement in your shot, you can apply a warp stabilizer.

4.       Crane Shot
Basically, prop your body down in a squat, and then slowly stand up. It gets a really nice crane up shot.

5.       Slow Dolly / Push Over / Slider Movement
This is the shot I use the most with your gimbal. It’s very easy to get a simple push over, slider-like movement. And it’s so much easier than carrying around a slider or dolly.

13 Essential Gimbal Moves

  • Push In/Pull Out: Move closer to or further from your subject…
  • The Parallax: Separates your subject from the background…
  • Push In/Pull Out-Parallax Combo: Emphasizes your subject and separates them from background…
  • Mouse Eye: Very low angle push-in; makes your subject appear larger than life…
  • Corkscrew: Rotating Dutch angle; great for creating uneasy a feeling…
  • Orbit: Move your camera around your subject 360-degrees; very kinetic shot…
  • Skyfall: Tilt your camera from sky down to your subject; good for reveals…
  • Ground Up: Tilt your camera from ground up to your subject…
  • Toe to Head: Lift camera from your subject's toes up to their head…
  • Poor Man's Jib: While crouching on an apple box, lift your camera all the way up over your head until you're standing upright…
  • Whip Pan: A super quick pan…
  • Car Rig: Mount your camera to a car…
  • Bird's Eye: Mount your camera to an overhead rig and shoot straight down onto your subject…


Sources, References & Credits: Google, Wikipedia, Wikihow, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Production Hub, Producers Guild of America, Film Connection, Variety, Steadicam, Tiffen, Zach Ramelan, Premium Beat, V Renée, Justin Jones, Ryan McAfee, Pond5,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Birdy Cam Lite Gimbal / Photo: Credit Grip Up

Saturday, April 28, 2018

WHAT IS A DRONE CAMERA WITH A GIMBAL (In the Entertainment industry. What is a Drone Camera with a Gimbal?)


3 Axis Gimbal on a Drone / Photo Credit: My Drone Lab

WHAT IS A DRONE CAMERA WITH A GIMBAL (In the Entertainment industry. What is a Drone Camera with a Gimbal?)


What is a Drone Camera with a Gimbal?

When it comes to shooting videos or taking pictures with your drone, there’s no doing so without a gimbal. Even if you manage to strap a drone GoPro or other camera to your quadcopter, the result will still be super-shaky, otherwise-not-great footage.

If still unclear as to why a gimbal is so gosh-darn important when using a drone to film, well, anything, let’s take a closer look at why this drone accessory is necessary:

Stability
Arguably the main purpose of a drone gimbal is to provide the attached camera with optimal stability. It doesn’t matter if the camera is pitching forward, right, left...the gimbal ensures smooth, stable footage. It also doesn’t matter if you don’t know much about flying a quadcopter or are flying in adverse weather conditions--a quality gimbal will keep the camera stable.

Real-Time Footage
The latest gimbals on the market today do more than keep your GoPro or other camera stable-- they also allow for things such as real-time HD video. First Person View (FPV) is increasingly popular among drone enthusiasts, so a built-in video module that’s compatible with hardware such as the DJI Lightbridge is pretty darn cool.

Rotation Control
Another feature included on many of today’s drones, such as the DJI Osmo, is three-axis rotation control. This again makes it easier to capture the footage you want.

Multiple Control Modes
Many of today’s gimbals worth their proverbial salt offer multiple control modes, such as orientation-locked, back to mid-point, and non-orientation-locked. It may sound complicated, but it’s essentially another way of controlling the camera and obtaining the shots you want.

A quality gimbal is imperative to drone filming. Whether you use a drone for professional reasons or not, make sure the ones you’re reviewing for purchase feature outstanding gimbal options.

A gimbal is a support system that allows an object to remain horizontal regardless of the motion around it. Gimbals were widely used in waterborne vessels to keep instruments, equipment, and even drink holders upright with respect to the horizon regardless of the motion of the boat.

If you are hoping to use your drone for photography, you may want to consider buying a gimbal. A gimbal is a support system that allows an object to remain horizontal regardless of the motion around it. Gimbals were widely used in waterborne vessels to keep instruments, equipment, and even drink holders upright with respect to the horizon regardless of the motion of the boat. Drone gimbals keep a camera in the same position regardless of the motion of the drone.

Similar to how you would use gimbal technology to ensure that you don’t spill your cup of coffee on the rough seas, a gimbal can keep your aerial camera in a specific position regardless of the movement of the drone around it. To fully understand how a gimbal works, you must first understand the three axes of aerial movement specific to an airplane.

A gimbal is designed to keep your camera at the same angle regardless of the movement of the drone by automatically compensating using calibrated and often remotely controlled electric motors.

HOW TO FIND A GIMBAL FOR YOUR DRONE
They sound extremely high -tech but the good news is that you don’t need to know how a gimbal works in order to use it. But before you start shopping for a gimbal, you do need to know if your drone supports a gimbal. Most of the big manufacturers, such as DJI and Parrot, either have integrated gimbals or an exclusive line of gimbals that you can buy direct or through authorized retailers.

The benefit to purchasing a camera gimbal through your drone manufacturer is that you will get support for your device as well as a slew of easy to find documentation on how to use and maintain your gimbal. Not to mention, the gimbal is designed specifically for your drone and therefore should work without any major issues. One glaring issue, however, is that your choices can end up being somewhat limited. Here are some websites where you can find alternative options:

Helipal.com: This is a one stop shop for all things drone related. Search for camera gimbals and in the product descriptions you will typically find comments on what drones the gimbal will mount to. Helipal is great for shoppers outside of the U.S.

ReadymadeRC.com: This is a great family owned business based out of Ohio. If you can’t find what you need on ReadymadeRC.com, you may be out of luck. Their exhaustive list of products makes it a great option for U.S. and Canadian customers.

Photography Store: Online photo supply stores, such as B&H or Adorama, are great outlets for finding a broad selection of camera accessories and equipment. If you have another camera website you typically frequent, search for “drone camera gimbal” on the sight, and see what you come up with.

Amazon.com: You can find almost anything on Amazon. Search for camera gimbals available through several different companies. This is a great way to price shop, read customer reviews, and even find some support documentation all before you buy.

CHOOSING THE RIGHT GIMBAL
As you continue to research the right gimbal for your drone, you will find that not unlike shopping for the right drone, gimbals also come in many shapes, sizes, and combinations of features. Gimbals designed for specific drones will offer high end features that you may not be able to find from gimbals that are a little more universal. Major features include:

Number of axes: Gimbals for drones are either 2-axis or 3-axis. 2-axis gimbals do not compensate for yaw, which means that there will be slightly more bump in your images. 3-axis compensates for yaw, but this feature comes at a cost (naturally). If you are spending the money on a gimbal, you should go for the 3-axis.

Remote control: One of the benefits to buying a gimbal built specifically for your drone is integration into the flight controller. For example, some gimbals built for the DJI Phantom 2 can patch into the drone so that the camera’s tilt angle can be adjusted remotely.

Camera support: Gimbals are designed with specific cameras in mind. There are some gimbals that come with support for multiple compact camera types. Primarily, you will find that gimbals are designed with support for the GoPro camera because of its wide use in action sports and aerial photography and videography. Make sure the gimbal you select supports your camera.

Pre-Calibration: Calibrating a gimbal can be somewhat tedious for beginners. A gimbal that comes pre-calibrated and ready to simply plug and play is the fastest and easiest way to get up and running. Gimbals made specifically for your drone should almost always come pre-calibrated. Calibrating isn’t difficult, but it is one more step you have to take before getting airborne.

Once you have chosen the gimbal for you, installation should be a cinch. Zenmuse is a popular line of Gimbals by DJI that offer supreme technology and ease of use all bundled into one. Before you rip open the package, your best place to start is with the instruction manual or user guide. You can also find several assembly and installation instructions on YouTube.

WARNING
Gimbals with three axes are generally heavier than their 2‐axis counterparts. A heavier gimbal means shorter flight times. Be sure to prepare to cut your flight shorter than normal when using a heavier 3‐axis gimbal.

Sources, References & Credits: Google, Wikipedia, Wikihow, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Production Hub, Producers Guild of America, Film Connection, Variety, Steadicam, Tiffen, "3-Axis Handheld GoPro Gimbals". Gimbalreview.com. Gimbal Review, Dietsch, Roy (2013). Airborne Gimbal Camera – Interface Guide, Mark LaFay, Dummies, A Wiley Brand, Abshier House, Drone Fly,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

3 Axis Gimbal on a Drone / Photo Credit: My Drone Lab

Friday, April 27, 2018

WHAT IS A GIMBAL – HISTORY AND APPLICATION (In the Entertainment industry. What is a Gimbal – History and Application)



How a Gimbal Works / Photo Credit: Science - How Stuff Works

WHAT IS A GIMBAL – HISTORY AND APPLICATION (In the Entertainment industry. What is a Gimbal – History and Application)


What is a Gimbal – History and Application

A gimbal is a pivoted support that allows the rotation of an object about a single axis. A set of three gimbals, one mounted on the other with orthogonal pivot axes, may be used to allow an object mounted on the innermost gimbal to remain independent of the rotation of its support (e.g. vertical in the first animation). For example, on a ship, the gyroscopes, shipboard compasses, stoves, and even drink holders typically use gimbals to keep them upright with respect to the horizon despite the ship's pitching and rolling.

The gimbal suspension used for mounting compasses and the like is sometimes called a Cardan suspension after Italian mathematician and physicist Gerolamo Cardano (1501–1576) described it in detail. However, Cardano did not invent the gimbal, nor did he claim to. The device has been known since antiquity, first described in the 3rd c. BCE by Philo of Byzantium, although some modern authors support it may not have a single identifiable inventor.

History
The gimbal was first described by the Greek inventor Philo of Byzantium (280–220 BCE). Philo described an eight-sided ink pot with an opening on each side, which can be turned so that while any face is on top, a pen can be dipped and inked — yet the ink never runs out through the holes of the other sides. This was done by the suspension of the inkwell at the center, which was mounted on a series of concentric metal rings so that it remained stationary no matter which way the pot is turned.

In Ancient China, the Han Dynasty (202 BCE – 220 CE) inventor and mechanical engineer Ding Huan created a gimbal incense burner around 180 CE. There is a hint in the writing of the earlier Sima Xiangru (179–117 BCE) that the gimbal existed in China since the 2nd century BCE. There is mention during the Liang Dynasty (502–557) that gimbals were used for hinges of doors and windows, while an artisan once presented a portable warming stove to Empress Wu Zetian (r. 690–705) which employed gimbals. Extant specimens of Chinese gimbals used for incense burners date to the early Tang Dynasty (618–907), and were part of the silver-smithing tradition in China.

The authenticity of Philo's description of a cardan suspension has been doubted by some authors on the ground that the part of Philo's Pneumatica which describes the use of the gimbal survived only in an Arabic translation of the early 9th century. Thus, the sinologist Joseph Needham suspected Arab interpolation as late as 1965. However, Carra de Vaux, author of the French translation which still provides the basis for modern scholars, regards the Pneumatics as essentially genuine. The historian of technology George Sarton (1959) also asserts that it is safe to assume the Arabic version is a faithful copying of Philo's original, and credits Philon explicitly with the invention. So does his colleague Michael Lewis (2001). In fact, research by the latter scholar (1997) demonstrates that the Arab copy contains sequences of Greek letters which fell out of use after the 1st century, thereby strengthening the case that it is a faithful copy of the Hellenistic original, a view recently also shared by the classicist Andrew Wilson (2002).

The ancient Roman author Athenaeus Mechanicus, writing during the reign of Augustus (30 BC–14 AD), described the military use of a gimbal-like mechanism, calling it "little ape" (pithĂªkion). When preparing to attack coastal towns from the sea-side, military engineers used to yoke merchant-ships together to take the siege machines up to the walls. But to prevent the shipborne machinery from rolling around the deck in heavy seas, Athenaeus advises that "you must fix the pithĂªkion on the platform attached to the merchant-ships in the middle, so that the machine stays upright in any angle".

After antiquity, gimbals remained widely known in the Near East. In the Latin West, reference to the device appeared again in the 9th century recipe book called the Little Key of Painting Mappae clavicula. The French inventor Villard de Honnecourt depicts a set of gimbals in his famous sketchbook. In the early modern period, dry compasses were suspended in gimbals.

Applications
In inertial navigation, as applied to ships and submarines, a minimum of three gimbals are needed to allow an inertial navigation system (stable table) to remain fixed in inertial space, compensating for changes in the ship's yaw, pitch, and roll. In this application, the inertial measurement unit (IMU) is equipped with three orthogonally mounted gyros to sense rotation about all axes in three-dimensional space. The gyro outputs are kept to a null through drive motors on each gimbal axis, to maintain the orientation of the IMU. To accomplish this, the gyro error signals are passed through "resolvers" mounted on the three gimbals, roll, pitch and yaw. These resolvers perform an automatic matrix transformation according to each gimbal angle, so that the required torques are delivered to the appropriate gimbal axis. The yaw torques must be resolved by roll and pitch transformations. The gimbal angle is never measured. Similar sensing platforms are used on aircraft.

In inertial navigation systems, gimbal lock may occur when vehicle rotation causes two of the three gimbal rings to align with their pivot axes in a single plane. When this occurs, it is no longer possible to maintain the sensing platform's orientation.

While brushless gimbals may not be the right tool for every shot, they are surprisingly versatile and have the potential to unlock new ways for us tell stories with more flexibility than ever before.

Rocket engines
In spacecraft propulsion, rocket engines are generally mounted on a pair of gimbals to allow a single engine to vector thrust about both the pitch and yaw axes; or sometimes just one axis is provided per engine. To control roll, twin engines with differential pitch or yaw control signals are used to provide torque about the vehicle's roll axis.

The word "gimbal" began as a noun. Most modern dictionaries continue to list it as such. Lacking a convenient term to describe the swinging movement of a rocket engine, engineers began also using the word "gimbal" as a verb. When a thrust chamber is swung by an attached actuator, the movement is referred to as "gimballed" or "gimballing". Official rocket documentation reflects this usage.

Photography and imaging
Gimbals are also used to mount everything from small camera lenses to large photographic telescopes.

In portable photography equipment, single-axis gimbal heads are used in order to allow a balanced movement for camera and lenses. This proves useful in wildlife photography as well as in any other case where very long and heavy telephoto lenses are adopted: a gimbal head rotates a lens around its center of gravity, thus allowing for easy and smooth manipulation while tracking moving subjects.

Very large gimbal mounts in the form 2 or 3 axis altitude-altitude mounts are used in satellite photography for tracking purposes.

Gyrostabilized gimbals which house multiple sensors are also used for airborne surveillance applications including airborne law enforcement, pipe and power line inspection, mapping, and ISR (intelligence, surveillance, and reconnaissance). Sensors include thermal imaging, daylight, low light cameras as well as laser range finder, and illuminators.

Film and video
Handheld 3-axis gimbals are used in stabilization systems designed to give the camera operator the independence of handheld shooting without camera vibration or shake. Powered by three brushless motors, the gimbals have the ability to keep the camera level on all axes as the camera operator moves the camera. An inertial measurement unit (IMU) responds to movement and utilizes its three separate motors to stabilize the camera.

With the guidance of algorithms, the stabilizer is able to notice the difference between deliberate movement such as pans and tracking shots from unwanted shake. This allows the camera to seem as if it is floating through the air, an effect achieved by a Steadicam in the past. Gimbals can be mounted to cars and other vehicles such as drones, where vibrations or other unexpected movements would make tripods or other camera mounts unacceptable.

Marine chronometers
The rate of a mechanical marine chronometer is sensitive to its orientation. Because of this, chronometers were normally mounted on gimbals, in order to isolate them from the rocking motions of a ship at sea.

Sources, References & Credits: Google, Wikipedia, Wikihow, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Production Hub, Producers Guild of America, Film Connection, Variety, Steadicam, Tiffen, "3-Axis Handheld GoPro Gimbals". Gimbalreview.com. Gimbal Review, Dietsch, Roy (2013). Airborne Gimbal Camera – Interface Guide,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

How a Gimbal Works / Photo Credit: Science - How Stuff Works

FILM 3-AXIS CAMERA GIMBAL? (In the Entertainment industry. What is a 3-AXIS Camera Gimbal?)


32 Bit 3 Axis Gimbal / Photo Credit: GiniRigs - Wikipedia

FILM 3-AXIS CAMERA GIMBAL? (In the Entertainment industry. What is a 3-AXIS Camera Gimbal?)


What is a 3-AXIS Camera Gimbal?

A gimbal is a pivoted support that allows the rotation of an object about a single axis. ... Handheld 3-axis gimbals are used in stabilization systems designed to give the camera operator the independence of handheld shooting without camera vibration or shake.

Gimbals are certainly exciting with their promise of delivering smooth footage even when you’re running at full speed. Traditional handheld stabilizers like a Glidecam can be unwieldy, temperamental, and come with a steep learning curve just to get usable results. A gimbal sounds like the solution to all of your problems.

In reality, while a gimbal has many benefits, it also comes with its own list of caveats. This guide will help you determine whether a 3-axis gimbal is the right tool for your needs.

Here’s a look at what kind of footage 3-axis gimbals are capable of when used by an experienced operator:

I stress “experienced operator”, because even though a gimbal lowers the learning curve in some ways compared to something like a Glidecam, it’s important to know that 3-axis gimbals still require a lot of practice and experience to get great results.

If you’re cool with that, let’s dig in:

WHAT IS A 3-AXIS BRUSHLESS GIMBAL?
The simplest way to understand what a 3-axis brushless gimbal is, we need to work backwards: 
  • Gimbal — a device that keeps the camera level by pivoting around it...
  • Brushless — the gimbal uses electric brushless motors to stabilize the camera...
  • 3-Axis — the gimbal stabilizes motion in 3 axes: pitch, roll, and yaw...
  • 3-Axis gimbals first gained popularity as a way to stabilize aerial footage from remote-controlled drones, but we’ll be focusing on using handheld gimbals with the Panasonic GH4 in this guide... 

HOW DOES A 3-AXIS GIMBAL WORK?
Gimbals bring together an array of complex electronics, sensors, motors, and physics to accomplish the seemingly impossible task of canceling out motion on the fly before it reaches the camera.

Basically, a motor is placed on the 3 different axes around the camera. When the sensors detect motion on these axes, the motors counteract that motion to cancel it out almost instantly. This keeps bumps and jolts from ever reaching the camera as it sits motionless in the middle of all of this activity.

In other words, a brushless gimbal is a robot Tai Chi master.

WHAT MAKES A GIMBAL SPECIAL?
By using modern technology to cancel out external movement, the camera is able to remain very stable. This allows you to capture smooth footage that would otherwise only be possible with a counterweighted stabilizer like a Steadicam or Glidecam.

One of the other unique benefits of a gimbal is it’s ability to keep a level head under pressure.

Traditional stabilizers rely on counterweights to smooth camera movement. This works well, but it also makes them sensitive to external forces like the wind or the inertia from when you turn a corner. As a result, keeping the camera consistently level with the horizon is difficult as a counterweighted stabilizer has a tendency to sway.

Worse yet, once the swaying starts, it can be difficult to smoothly get it under control, which can result in footage that looks like it was filmed on a boat out at sea.

By contrast, a brushless gimbal uses sensors and motors to keep the camera absolutely level despite how you may be holding it, so you can say sayonara to seasickness.

This ability to remain straight and level makes a gimbal similar to sliders and dollies that use tracks to move the camera along a straight path. In some cases, it is even possible to simulate slider moves with a brushless gimbal— the key is keeping the camera vertically level as the gimbal does its magic to keep the camera level with the horizon.

HOW DO I SHOOT WITH A GIMBAL?
Most gimbals can be used in several different configurations:

HANDLEBARS
Most 3-axis gimbals have handlebars that extend out to the sides, allowing you to support the gimbal and camera with both arms.

The gimbal is easy to control in this mode and is good for shooting mid-level angles. However, you need to raise the handlebars higher to shoot at eye-level, which increases strain and fatigue on your arms and shoulders.

INVERTED HANDLEBARS
Some gimbals can be inverted so that the handlebars are below the camera. This allows you to keep your arms lower while shooting at eye-level, which helps a lot with strain and fatigue.

In fact, some manufacturers like Letus Direct have designed gimbals that are inverted by default for this very reason.

TOP HANDLE
Most gimbals also have a top handle that allows you to operate the gimbal with just one hand. The top handle is also useful when shooting low to the ground.

IS A GIMBAL DIFFICULT TO USE?
In many ways, brushless gimbals have drastically reduced the learning curve for shooting ultra-smooth footage compared to traditional counterweighted stabilizers. Thanks to the technology packed into a gimbal, much of the work you used to have to learn to do manually is taken care of by sensors and motors.

However, many concepts and skills from operating counterweighted stabilizers can be directly applied to shooting with a gimbal.

For example, the camera needs to be properly balanced on the gimbal to allow the motors to perform well. An unbalanced camera can cause increased vibrations as the motors try to compensate for the imbalance. This will also cause the motors to use more power than necessary.

Several techniques are also very valuable when operating a gimbal. Walking smoothly to reduce bumps in your steps and absorbing shock with your arms to keep the camera level are two techniques that have a noticeable impact on your footage.

Additionally, a gimbal requires you to learn new technical skills as well. The gimbals complex electronics are configured via software that you will need to become well-acquainted with in order to tune the gimbal for the best performance when using different lenses and cameras.

BORN TO RUN: WHEN SHOULD I USE A GIMBAL?
A gimbal is particularly useful when you need to capture smooth footage while maintaining freedom of movement. For example:

Making your way through a crowded and brightly-colored bazaar as you chase a small monkey named Abu.

Following someone as they head from their car in the parking lot, up flights of stairs, down hallways, and in to their office at work (only to find out they were fired).
Running through the woods with a pack of wild wolves (like they did in Twilight, right?)

Filming a person on a bicycle as you ride alongside them in a car (you tossed a coin, and you got to be in the car).

Also, because gimbals are adept at keeping the camera level, it can also be used to simulate a slider’s linear movements. Though it may take some additional takes to keep the camera vertically level, this is a nice capability to have when you cannot bring a slider with you.

On the flip side, a gimbal is not the best option for extended shooting. This is especially true if you don’t have any additional way to support the weight of the gimbal and camera, as your arms alone will only last for so long.

Of course, if you’re looking to capture footage with an organic handheld look, then a gimbal is definitely not the right tool for the job. In such cases, a handheld rig is a much better option.

WHAT ARE A GIMBAL’S DRAWBACKS?
Like any tool, there are benefits and drawbacks to brushless gimbals that you need to be aware of when evaluating whether it’s right for you. Here are some of the downsides to shooting with a gimbal:

Requires power — Controllers, sensors, and motors all require power, so you’ll have to remember to bring enough batteries to last for your entire shoot.

Takes time to balance — the camera needs to be properly balanced on the gimbal each time you change cameras or lenses.

Requires technical savvy — you will need to be adept at using computers and electronics to configure and tune the gimbal for the best results via software.

Tiring to use — A gimbal’s form factor requires you to hold it out in front of you with both arms when shooting, putting strain on your arms and shoulders.

Learning curve — a gimbal is not something you just pick up and use. You need to become familiar with its controls and different modes of operation to get good results.

Bulky — a gimbal’s wide handlebars and rigid frame make it more difficult to travel with and use in small spaces compared to just the compact GH4 and a minimal handheld rig.

Requires external m0nitoring — The GH4’s EVF and rear screen are obscured when mounted on most gimbals, so you’ll need an external monitor just to see what you’re shooting.

Requires a stand — many gimbals cannot be set down without the aid of a stand, so this is something you’ll need to bring with you wherever you go with a gimbal.

Price — Gimbals are still quite new, so prices are high at the moment ($2K+ for high-quality gimbals).

CHOOSING A GIMBAL: WHAT FEATURES DO I LOOK FOR?
We’ll be taking a look at the best gimbals for the GH4 in the next guide, but here are the important features that you should look for when choosing a gimbal for any camera:

Weight Capacity — the gimbal must be able to support the GH4 and the lens you intend to shoot with. For example, the gimbal should support at least 1kg to handle the GH4 and a small lens.
Tool-less adjustments — balancing the camera will go much faster if the gimbal features tool-less adjustments for adjusting the camera sled’s position in the gimbal.
32-bit Controller — Better performance and more control via software compared to the older 8-bit controllers.

Spacious camera sled — the sled needs to be large enough to properly balance the camera and lens you’ll be using. Longer lenses will require the camera to be moved further back, so the sled needs to be able to accommodate this.

Quick-Release camera plate — quickly mount and remove the camera from the gimbal.
Industry-standard mounting options — some gimbals use non-standard tubing for its frame, which requires proprietary attachments for mounting monitors and other accessories. Industry-standard mounting options such as 15mm rods and 1/4-20 threaded holes allow you to mount accessories using readily-available gear.

Solid customer support — Gimbals are complex tools that may require a good deal of tweaking and adjustment, so you want a responsive company that won’t leave you hanging when you have a problem.
DOES A GIMBAL WORK WELL WITH THE PANASONIC GH4?

As long as a gimbal is well-made and has the weight capacity to support the GH4 and the lenses you will be using, it can work very well with the GH4.

Furthermore, the GH4’s compact size and low weight means that you can also use smaller and lighter gimbals. This makes a big difference when you’re shooting all day, as a heavy gimbal alone will take quite a toll on your body.

The GH4 and a small gimbal might be the perfect pair for shooting smooth footage while on the move.

While brushless gimbals may not be the right tool for every shot, they are surprisingly versatile and have the potential to unlock new ways for us tell stories with more flexibility than ever before.
Sources, References & Credits: Google, Wikipedia, Wikihow, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Production Hub, Producers Guild of America, Film Connection, Variety, Steadicam, Tiffen, Aakash Regmi,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

32 Bit 3 Axis Gimbal / Photo Credit: GiniRigs - Wikipedia

Wednesday, April 25, 2018

FILM CAMERA DOLLY? (In the Entertainment industry. What is a Camera Dolly?)



A JL Fisher model 10 camera dolly with an Arriflex D 21 camera / Photo Credit: Schlaier - Wikipedia

FILM CAMERA DOLLY? (In the Entertainment industry. What is a Camera Dolly?)


What is a Camera Dolly?

A camera dolly is a wheeled cart or similar device used in filmmaking and television production to create smooth horizontal camera movements. The camera is mounted to the dolly and the camera operator and focus puller or camera assistant usually ride on the dolly to push the dolly back and forth. The camera dolly is generally used to produce images which involve moving the camera toward or away from a subject while a take is being recorded, a technique known as a "dolly shot." The dolly grip is the dedicated technician trained to operate the dolly by manually pushing it back and forth.

Movement
The camera dolly may be used as a shooting platform on any surface but is often raised onto a track, to create smooth movement on a horizontal axis known as a tracking shot. Additionally, most professional film studio dollies have a hydraulic jib arm that raises or lowers the camera on the vertical axis. When a dolly grip operates a dolly on perpendicular axes simultaneously, it's known as a compound move.

Dolly moves may also be executed without track, giving more freedom on the horizontal plane and with it, a higher degree of difficulty. These are called dancefloor moves and may either be done on the existing surface (if smooth enough) or on an overlay designed for dolly movement. The ground overlay usually consists of thick plywood as a bottom layer and Masonite on top.

Camera dollies have several steering mechanisms available to the dolly grip. The typical mode is rear-wheel steering, where the front wheels remain fixed, while the wheels closest to the operating handle are used to turn. A second mode, round steering, causes the front wheels to turn in the opposite direction from the rear wheels. This mode allows the dolly to move in smooth circles and is frequently used when the dolly is on curved track. A third mode, called crab steering, is when the front wheels steer in the same direction as the rear wheels. This allows the dolly to move in a direction diagonal to the front end of the dolly.

A Dolly zoom is the combination of a dolly in or out shot with a simultaneous zoom, creating a disorientating effect.

Types
Studio dollies are large and stable and can feature hydraulics. These are the first choice for studio, backlot and location shoots when using professional cameras. A studio dolly usually needs a specialized operator called a "dolly grip", and many are built for the camera operator to ride on the dolly with the camera.

Lightweight dolly systems are simpler, affordable and are best used with lighter-weight cameras. Lightweight systems are usually favored by independent filmmakers and students because they are easier to carry and operate. These dollies support only the camera, and the operator needs to move alongside. Some lightweight dollies are small enough to be carried in a backpack.

The best way to be able to replicate the same camera movement for multiple takes (which is important for editing) is to use a dolly on track.

Track
Dolly tracks used for heavy cameras have traditionally been constructed of steel or aluminum. Steel, although heavier than aluminum, is less expensive and withstands heavier use. Longer track segments, while heavier to transport, allow track to be laid straighter with less effort. Curved track is also available. Plastic versions of track have been used with lightweight dolly systems. In the 2000s, flexible rubber track allowed quicker set up and easier transportation for use with light cameras.

Sources, References & Credits: Google, Wikipedia, Wikihow, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Production Hub, Producers Guild of America, Film Connection, Variety, Steadicam, Tiffen, "Dollygrippery", "What's a Dolly Grip?", "FilmProductionRoles11MED23 - Grip",

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

A JL Fisher model 10 camera dolly with an Arriflex D 21 camera / Photo Credit: Schlaier - Wikipedia

FILM CRANE SHOT? (In the Entertainment industry. What is a Film Crane Shot?)



Crane Shot / Photo Credit: Ken123 - Wikipedia

FILM CRANE SHOT? (In the Entertainment industry. What is a Film Crane Shot?)


What is a Film Crane Shot?

In filmmaking and video production, a crane shot is a shot taken by a camera on a moving crane or jib. Most cranes accommodate both the camera and an operator, but some can be moved by remote control. Camera cranes go back to the dawn of movie-making, and were frequently used in silent films to enhance the epic nature of large sets and massive crowds. Another use is to move up and away from the actors, a common way of ending a movie. Crane shots are often found in what are supposed to be emotional or suspenseful scenes. One example of this technique is the shots taken by remote cranes in the car-chase sequence of the 1985 film To Live and Die in L.A. Some filmmakers place the camera on a boom arm simply to make it easier to move around between ordinary set-ups.

Technique
The major supplier of cranes in the cinema of the United States throughout the 1940s, 1950s, and 1960s was the Chapman Company (later Chapman-Leonard of North Hollywood), supplanted by dozens of similar manufacturers around the world. The traditional design provided seats for both the director and the camera operator, and sometimes a third seat for the cinematographer as well. Large weights on the back of the crane compensate for the weight of the people riding the crane and must be adjusted carefully to avoid the possibility of accidents. During the 1960s, the tallest crane was the Chapman Titan crane, a massive design over 20 feet high that won an Academy Scientific & Engineering award. Most such cranes were manually operated, requiring an experienced boom operator who knew how to vertically raise, lower, and "crab" the camera alongside actors while the crane platform rolled on separate tracks. The crane operator and camera operator had to precisely coordinate their moves so that focus, pan, and camera position all started and stopped at the same time, requiring great skill and rehearsal.

Types
Camera cranes may be small, medium, or large, depending on the load capacity and length of the loading arm. Historically, the first camera crane provided for lifting the chamber together with the operator, and sometimes an assistant. The range of motion of the boom was restricted because of the high load capacity and the need to ensure operator safety. In recent years a camera crane boom tripod with a remote control has become popular. It carries on the boom only a movie or television camera without an operator and allows shooting from difficult positions as a small load capacity makes it possible to achieve a long reach of the crane boom and relative freedom of movement. The operator controls the camera from the ground through a motorized panoramic head, using remote control and video surveillance by watching the image on the monitor. A separate category consists of telescopic camera cranes. These devices allow setting an arbitrary trajectory of the camera, eliminating the characteristic jib crane radial displacement that comes with traditional spanning shots.

Large camera cranes are almost indistinguishable from the usual boom-type cranes, with the exception of special equipment for smoothly moving the boom and controlling noise. Small camera cranes and crane-trucks have a lightweight construction, often without a mechanical drive. The valves are controlled manually by balancing the load-specific counterweight, facilitating manipulation. To improve usability and repeatability of movement of the crane in different takes, the axis of rotation arrows are provided with limbs and a pointer. In some cases, the camera crane is mounted on a dolly for even greater camera mobility. Such devices are called crane trolleys. In modern films robotic cranes allow use of multiple actuators for high-accuracy repeated movement of the camera in trick photography. These devices are called tap-robots; some sources use the term motion control.

Manufacturers
During the last few years, camera cranes have been miniaturized and costs have dropped so dramatically that most aspiring film makers have access to these tools. What was once a "Hollywood" effect is now available for under $400. Main producers of cranes companies include ABC-Products, Cambo, Filmotechnic, Polecam, Panther and Matthews Studio Equipment.

What does a Crane Operator do?
Crane Operators are responsible for setting up and operating all cranes on film productions. This can involve working with a variety of equipment, ranging from a small jib arm, used to make slight camera movements up and down, to a massive 90-foot long crane for shooting huge crowd or action sequences.

Because the equipment is heavy and potentially dangerous, Crane Operators carry a great deal of responsibility for health and safety; this is one of the few jobs on productions that involves real life risks for all cast and crew.

Depending on the size of the crane and the production, Crane Operators may work alone or with another Crane Operator, but there are always at least two Grips per crane.

Crane Operators check over all the equipment on the day before the crane is needed. On shooting days they drive the vehicle carrying the crane to the studio or location. Working closely with the Grip, they assemble the crane, and stand by for any shots that require the camera to be raised. This could involve a Riding Crane, which carries the Camera Operator and 1st Assistant Camera, or a Pan-and-Tilt Head, which allows the camera to be operated by remote control and which can be elevated much higher.

At the end of each working day, Crane Operators must make the crane safe for the next day, or if the crane is no longer needed, de-rig it.

Crane Operators normally work as freelancers, but are affiliated with one of the camera equipment facilities houses.

They are usually asked for by the Grip and ultimately report to the Director of Photography. Most Crane Operators combine work on commercials with television and feature films, and some foreign travel may be involved, involving long periods spent away from base.
Sources, References & Credits: Google, Wikipedia, Wikihow, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Production Hub, Producers Guild of America, Film Connection, Variety, Steadicam, Tiffen, Jeremy Vineyard, Jose Cruz, Setting Up Your Shots: Great Camera Moves Every Filmmaker Should Know,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Crane Shot / Photo Credit: Ken123 - Wikipedia

WHY DO ACTORS TAKE UNCREDITED ROLES? (In the Entertainment industry.)

Film Billing Credits / Photo Credit: Studio Binder – Bruce Bisbey WHY DO ACTORS TAKE UNCREDITED ROLES? (In the Entertainment industry....