SL video set up

[scott kirkpatrick]

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In A mode, you can adjust exposure compensation, but as you have noticed, the dial that does the adjustment makes clicks.  Also in M mode with auto-ISO enabled, although there are limits to auto-ISO's working range, at which it stops making changes.

[frame-it]

im sure the processor can handle 4k, as you said they support UHS-2..so could be an apple-style-release-the features-slowly-thingy or maybe they don't care about video that much

 

 

 

it may be a problem with 4K for not having enough bandwidth. Although, hardware support for UHS-II cards makes me wonder...

[Irakly Shanidze]

im sure the processor can handle 4k, as you said they support UHS-2..so could be an apple-style-release-the features-slowly-thingy or maybe they don't care about video that much

 

Video is the only way to make SL competitive. DNG capability would place it right next to Ursa Mini 4K. I sincerely hope that Leica marketing will realize it sooner than later.

[Irakly Shanidze]

A click less  dial would be nice to control gain during a session. Is there a way to control exposure during video? I'm not able to adjust ISO.

 

yes, it is called variable ND filter

[lx1713]

yes, it is called variable ND filter

 

Thanks, read about it but somehow it dropped out of my memory. Do you use it with a matte-box? And which brand do you use?

[Irakly Shanidze]

Thanks, read about it but somehow it dropped out of my memory. Do you use it with a matte-box? And which brand do you use?

 

no, front-mounted B&W is good enough

https://www.bhphotovideo.com/bnh/controller/home?A=details&O=&Q=&ap=y&c3api=1876%2C%7Bcreative%7D%2C%7Bkeyword%7D&gclid=EAIaIQobChMI6_a1z5Ge2AIVhbbACh0GeAEbEAYYBSABEgLOo_D_BwE&is=REG&m=Y&sku=905894

 

Keep in mind, changing aperture while shooting is not something done frequently. You will get much more consistent results fading-out in post. The usual workflow is to set exposure first and then shoot. This can easily be done rotating the front-mounted filter. Unless you have another filter in the matte box, the front-mounted filter is easily accessible, even if the matte box does not have a swing-away capability.

[leica1215]

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A tripod with a good fluid head will give you the smoothest video, if that's what you want.

 

Here are a few options for hand-held work, from cheapest to most expensive.

 

• Use a wide lens. I find that I can hand-hold for very long periods with an 18 mm on Super 35 (equivalent to a 28 on full frame).
• Use in-camera or in-lens image stabilization. I personally don't like the "OIS look," but most people seem to be OK with it.
• Use a stabilization effect in post. This will crop your image slightly.
• Use a vibration dampener. I have a bean bag that screws into the camera's tripod socket. It makes a noticeable difference.
• Use a monopod or small tripod. Your shots will be more stable even if the tripod isn't touching the ground. The extra mass dampens vibrations, and the tripod acts as a keel, keeping the camera level.
• Use a cage and handles. Lockcircle makes a dedicated SL cage, but many SLR cages also fit.
• Use a mechanical stabilizer, like a Steadicam.
• Use a shoulder rig. That's what news shooters do.
• Use a motorized stabilizer, like a Movi.
• Hire a professional.

For silent shots you can also overcrank: shoot at a high frame rate, and slow-down in editing. For instance, shoot a shot at 60 fps and have your editing software treat it as 30fps slow-motion.

 

Your choice will come down to what's available to you, how much complication you want, and, mostly, what suits the scene. A little bit of jerkiness can help sell your shot. Hand-held motion looks "truthful," which is why commercials often use it. On the other hand, super-smooth shots look "expensive," and "scripted," which is also useful.

I got the point, it looks like tripod with slider is compact and fits my relatively simple need.. what you think about various sliders made by edelkrone? they look nice and price ok, but rarely be mentioned. 

[BernardC]

I got the point, it looks like tripod with slider is compact and fits my relatively simple need.. what you think about various sliders made by edelkrone? they look nice and price ok, but rarely be mentioned. 

I haven't tried that one, but let me say that we live in a golden age of motion picture accessories.

 

I worked on a project about ten years ago that involved a lot camera rail and time lapse. Doing the same project now would almost be too easy, from a technical standpoint. We had to hunt-down ultra-rare animation motors and interval timers, and a lot of the rig was custom-made at a local machine shop. Now you could get similar results with off-the-shelf accessories, and control it with your phone.

[tourian]

Does anyone know if the Zhiyun Crane 2 will mount the Leica SL with SL lenses? It has a max payload of 7lbs so it should be able to support the weight, but I'm not sure if the camera will fit on the mount. I've reached out to their support and haven't heard back.

[lx1713]

Sooner or later I would hit this point. So I now have a fluid head and a video tripod w/ 75mm bowl. I don't have much problems with dealing with fixed lenses but the 24-90 extends its length. So I came to the realisation that counter balance isn't about the weight of the kit. Duh!    

 

Increasing the tilt drag helps but not perfect. My setup is set to balance at about 40mm focal length and balanced for forward tilt where it's motionless. I lock the tilt at either extremes of 24mm and 90mm.  (does this description make sense?   )

 

Question: Is there a better way of doing this? I've a Sachtler Ace XL and the Flowtech 75. Is there a better solution?

[rafael_macia]

Sooner or later I would hit this point. So I now have a fluid head and a video tripod w/ 75mm bowl. I don't have much problems with dealing with fixed lenses but the 24-90 extends its length. So I came to the realisation that counter balance isn't about the weight of the kit. Duh!    

 

Increasing the tilt drag helps but not perfect. My setup is set to balance at about 40mm focal length and balanced for forward tilt where it's motionless. I lock the tilt at either extremes of 24mm and 90mm.  (does this description make sense?   )

 

Question: Is there a better way of doing this? I've a Sachtler Ace XL and the Flowtech 75. Is there a better solution?

 

I don't know if this is a better solution, but it is what works for me.

On a Miller fluid head I slide the camera on the mounting plate forward, and back to balance the head. If I point the camera upwards, (or backwards), or downwards (or forward), and let the handle go if the camera  should stay where it is ..... if it drops back, drifts, or moves in any way I slide the camera plate forward or back on the head until wherever I let the handle go the rig stays there and does not move.

In other words wherever you point your camera, it should stay there.

I hope this helps

rafael

[lx1713]

I don't know if this is a better solution, but it is what works for me.

On a Miller fluid head I slide the camera on the mounting plate forward, and back to balance the head. If I point the camera upwards, (or backwards), or downwards (or forward), and let the handle go if the camera  should stay where it is ..... if it drops back, drifts, or moves in any way I slide the camera plate forward or back on the head until wherever I let the handle go the rig stays there and does not move.

In other words wherever you point your camera, it should stay there.

I hope this helps

rafael

 

Thanks, appreciate it. It's what I've been doing. No problems with primes or if I'm not zooming. The 24-90 is very convenient but zooming towards 90mm, the extension unbalances the setting. I think my only choice is to lock the tilt whenever the balance is out instead of rebalancing it each time. Unless I've time

By the way which Miller head did you get. I'm thinking of getting the CX2 if the Ace doesn't work out. I like the idea of dialling in counter balance in smaller steps. The Ace is a little difficult here but it likely is my lack of knowledge and skills at balancing.

[rafael_macia]

☛lx1713

I went for a Miller DS10.... a great fluid head. A tad heavy but so worth it!

I have an older Miller Super 8 fluid head from the 60's, which is fine and much lighter when I have to move around a lot. The DS10 I use on a Gitzo 3542LS.

The lighter Miller Super 8 I use on a Gitzo 2542L.

Miller made the first fluid head in the 50's ..... something to be said for that

Rafael.

 

the CX2 ? wow that would be almost twice the weight of the DS10. I think that may be overkill for an SL setup ....... no matter how heavy 

Edited May 8, 2018 by rafael_macia

[lx1713]

Thanks! I will try out the DS 10. There are some features to the CX2 which I want but as you say the DS10 is substantially lighter. Weight is always a consideration for me these days but ease of use is more so.

 

The Ace is slightly heavier but balancing the 24-90's shifting weight being the problem I may well be chasing the impossible. So it may end up that I will not go for the CX2 or the FSB8.

[rafael_macia]

Cinematic zoom lenses are different than still photography zoom lenses. the shifting weight of the 24-90 is not a problem for stills but for video it is. A zoom lens made for video will not "breathe" (change frame size), when being zoomed. etc. etc. .....A small difference but an important one.

Combining still and video tackle is tricky. The 24-90 just might not be the right tool.......?

 

The DS10 I thought is the "sweet spot" for Miller. The DS20 is not necessary and the entry level Miller the Air, might be fine .... but for a bit more the DS10 gives much more.

 

I could not be happier with the DS10

Edited May 8, 2018 by rafael_macia

[lx1713]

Cinematic zoom lenses are different than still photography zoom lenses. the shifting weight of the 24-90 is not a problem for stills but for video it is. A zoom lens made for video will not "breathe" (change frame size), when being zoomed. etc. etc. .....A small difference but an important one.

Combining still and video tackle is tricky. The 24-90 just might not be the right tool.......?

 

The DS10 I thought is the "sweet spot" for Miller. The DS20 is not necessary and the entry level Miller the Air, might be fine .... but for a bit more the DS10 gives much more.

 

I could not be happier with the DS10

 

I didn't realise that part of breathing but yes that makes sense.

 

I totally agree about trickiness of the combining stills and video part but I'm getting the hang of it.

Regarding the 24-90, I'm enjoying it greatly even for video. Decided that I will not do the niceties that cinematographers and videographers do. Just jump cuts but focus on positioning and composing for the moments. Events do work out too fast for cinematic treatment  . I can use the in 11-23 slo mo when things really heat up.

 

At any rate I hope Leica will do a cine version of the 24-90 and 90-280 but with electronically controlled focus and zoom points. I would like to be able to dial in the precise distance and zoom angle and let the lens do the work    Even a super 35 version will do the trick.

 

Part of the reason for the CX2 is the trend towards lighter cameras (counter balance is 0-8kg) and I'm seeing the GH5 as the mainstay my colleagues are using so enabling them is part of an overall solution. I've decided to leave the 6 kg tripod and head moving to my assistant    except for short distances   . Who knows maybe Leica will do a GH5 sized and matched video camera that does stills also.

[BernardC]

 A zoom lens made for video will not "breathe" (change frame size), when being zoomed. etc. etc.

It won't breathe while focusing. Obviously, it will change magnification while zooming.

What cine zooms don't do while zooming is change focus. Almost all zooms designed for still photography will shift focus while zooming. This is compensated by the AF mechanism.

Cine lenses use very complex and precise zooming mechanisms to hold focus, and even then they need to be manually collimated to a specific camera. That's part of the reason why they cost so much.

[rafael_macia]

"Part of the reason for the CX2 is the trend towards lighter cameras (counter balance is 0-8kg) and I'm seeing the GH5 as the mainstay my colleagues are using so enabling them is part of an overall solution."

An excellent point. Worth getting the CX2. A heavy video head that can do wonderful pans on a very light camera, and also do well with a heavy rig, is a real asset.

Only thing is for that, the payback is lugging everything around.

 

If you do go towards a DS10, older ones have a design shortcoming in the female screw threading which costs $200+ to upgrade by Miller.

Going from bowl use......to say a slider, repeatedly, will wear out the threads in an un-upgraded DS10.

You need to pick up ... if you choose  a DS10 used, you need a later DS10 they have upgraded thread reinforcement. The Air is fine in this respect.

Rafael

Edited May 8, 2018 by rafael_macia

[lx1713]

"Part of the reason for the CX2 is the trend towards lighter cameras (counter balance is 0-8kg) and I'm seeing the GH5 as the mainstay my colleagues are using so enabling them is part of an overall solution."

An excellent point. Worth getting the CX2. A heavy video head that can do wonderful pans on a very light camera, and also do well with a heavy rig, is a real asset.

Only thing is for that, the payback is lugging everything around.

 

If you do go towards a DS10, older ones have a design shortcoming in the female screw threading which costs $200+ to upgrade by Miller.

Going from bowl use......to say a slider, repeatedly, will wear out the threads in an un-upgraded DS10.

You need to pick up ... if you choose  a DS10 used, you need a later DS10 they have upgraded thread reinforcement. The Air is fine in this respect.

Rafael

 

 

Going to pick up my skills a little at a time

So lugging around will depend on my ability to carefully pick the right jobs. 

I'm resolutely not looking at sliders. My friends and sales guys have been deviously showing me great videos with slider shots.

 

The ace is a fine head actually except balancing quickly isn't an fast task. Sliding the plate isn't smooth nor is the scale easy to see so repeated consistent placement is not speedy.

SimilarlyI don't see the scale on the CX2 but the FSB 8T seems to one that rings in the most speed features. OTOH the CX2 looks like a really fine head for precise counter balancing.

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Hallo,

Look here: Leica L-Mount

[lx1713]

It won't breathe while focusing. Obviously, it will change magnification while zooming.

What cine zooms don't do while zooming is change focus. Almost all zooms designed for still photography will shift focus while zooming. This is compensated by the AF mechanism.

Cine lenses use very complex and precise zooming mechanisms to hold focus, and even then they need to be manually collimated to a specific camera. That's part of the reason why they cost so much.

Thanks Bernard.

The Cine zooms aren't really on my wish list yet because work is largely stills and a little video clips here and there 

Is there a good work solution to zooming that upsets the counter balance setup of the fluid head? I've been hand holding the camera directly and locking the tilt whenever I take my eyes off the EVF. I'm not working with the pan bar. It's comfortable for me but it might not be a smart way to work. I can imagine the video gods laughing at me.