xFade-L

 

Lighting interviews is the lifeblood for most shooters, including myself. And often times I’m at the mercy of the schedule of the person I’m interviewing and pressed for time. On top of that, I’m challenged with whatever cramped, dingy and sometimes poorly lit location I’m given. Creatively lighting my subjects under these circumstances can present a challenge but it’s my favorite part. Bi-color LEDs have helped me a lot because I can quickly dial to match most environments to make the light look natural and save the time of changing keno bulbs or gelling a tungsten unit. But now, many shooters have taken to using a single quasar xfade tube above camera to wrap their key for a soft light or even using a single tube as the key. Lately, I find myself solving most quick set ups using two quasar xfade tubes in the shape of an upside-down L to light my subjects. The idea isn’t new – with a setup like this, you can walk the light in until it’s just off frame to produce a soft, natural light. The “L” shape is perfect to ride the edge of frame where a 4×4 would be covering the lens already. I took this set-up and made it practical and fast for any size production.

 

To build your own, here’s what you’ll need:

2 x 4′ Quasar Science x-fade tubes

1 x Foldy Shelf Thing

4 x Quasar Mounting Clips

1 x Baby Pin Adapter

1 x Dimmer

I don’t like the dimmer, but I didn’t want to assemble a Lutron, so let me know if you find a better solution. I’m also assuming you have a c-stand and a bag. I use a combo with a triple-header when I’m on my own because I don’t own a c-stand. If you want to protect your lights in transit, I recommend this gun case as it fits this whole kit with room to spare:

1 x Plano Case

To assemble it, I drilled holes in the folding shelf thing and then bolted the clips to it. Make sure to leave room to grab the baby pin from above. Here’s a behind the scenes:

 

This is a gen1 xfade L. I’m sure there are plenty out there who have done it better. If you have a setup like this, or wind up building your own, please comment or hit me up on instagram @Desert.DP. Thanks and happy shooting!

(PS: I didn’t get any money from Quasar or Amazon.)

Teradek Serv Pro – BEFORE YOU BUY

On set iOS monitoring – it’s what makes every director feel cool. However, choppy video and difficult to use systems have made this “cool” tech out of reach for most shooting environments. Recently a friend broke out his serv pro on a commercial and I was very impressed with it. After buying my own, here are some of my thoughts.

Body Design

Teradek has taken a step forward and started accepting that their technology gets HOT! the Serv pro is covered in small diagonally running grooves to increase surface area and thus, cooling. The blue metal is striking and attractive, but I’ve also found that it’s practical: it looks different than my Bolt2000 and is easy to tell apart quickly. although Teradek has taken a step forward in cooling, they’ve gone backward in mounting options. There are only 2 – that’s right, count ’em – TWO mounting holes. Both are threaded and both are very shallow. There are no through holes. I find myself carrying a stack of washers to incrementally find the correct depth so I can tighten the bolt down without bottoming out and stripping my only lifeline.

Connection Options

The serv comes standard with BOTH HDMI and HDSDI in for use with a range of cameras and on set workflows. However, there is no loop out. So once you plug this in, that’s it – it’s the end of the line. As we all know, on camera SDI ports can become a bit of a scarcity – especially when using RED. And since teradek expects us to put this thing on the camera, it really needs to have a loop out or your 1st AC has to sacrifice his onboard focus monitor (that’s not important right?).

Delay

Speaking of focus: While the serv is a huge step up when compared to previous iOS monitoring attempts, there is still a noticeable delay. While you could possibly use this with a remote focus in a pinch, I wouldn’t rely on it. Directors also sometimes have a hard time watching it with sync sound because the action they see is delayed from the sound.

Teradek Link

I also bought the Teradek branded wifi router called the link. This enables multiple servs to connect to a single access point and extends the range up to 1000ft. This is super helpful on multicam sets. Directors, clients and agency peeps can switch between cameras or enable a two-up, or four-up display right in the app. The firs time I used the link the link on set, I had to contact Teradek because it wasn’t obvious that I was supposed to connect the serv’s to it via wifi. I assumed I could connect two through the ethernet ports on the Link. While you can connect via ethernet, you can only connect one serv that way or you need an ethernet router. Also, the Link has the option to be powered through an onboard battery plate, but the battery plate requires a short p-tap to lemo 2-pin pigtail for power rather than passthrough.

Set-up

The first time you set up your serv, don’t try to do it on set… The wifi password to a new serv is the serial number which can take a minute to type in. then you may want to download the app on your iPad or iPhone before you get into the field where service may be limited or wifi may be slow. The app is huge! Teradek thought through the app very well and it’s well laid out. It does take some thinking to get a feed to show up. I haven’t yet had anyone intuitively figure out how to configure it on their own device. Once set up though, It’s a dream. I can check exposure with histograms, false color, or waveform and I get focus tools like peaking and punch in. My favorite though is the frame grab feature. It allows me to overlay shots for matching something. But the biggest use is on low budget features when I don’t have a full crew, I can quickly check coverage from early in the day to match sizes and make sure I don’t cross the line.

Cautions and Pro Tips

A few last warnings that Teradek wont tell you. first, the servs do not include p-tap power. Only AC. This isn’t going to go well if you plan to use it on camera like Teradek is telling you to. Also, the app doesn’t work on all iOS devices. Check your app store before you buy. My preference is the iPad mini 4. I bought two to keep with the kit that aren’t linked to my personal iCloud so the director isn’t getting text messages from my wife… the way I see it, the last handheld monitor I bought cost nearly $6k with the screen, batteries, rig and 2000 RX so the cost of an iPad is almost nothing. I also purchase this caseexternal battery, sunhood and holster for the battery. With this setup, the iPad can last all day without resting and take the abuse of being on set. Careful though, the sunhood will loose the buckles for the straps if you don’t keep an eye on it.

Summary

All-in-all, I’d say the teradek serv pro may have some drawbacks, but it’s a must have for any size production in my opinion.

 

 

Tiffen NATural ND Review

When it comes to neutral density, very few filters live up the first half of the name, “neutral” – and the more “density” you add, the less “neutral” they become. ND that lives up to the name has historically been cost prohibitive for most, especially the mitomo TrueND. However, Tiffen aims to change that for us with their new NATural ND line.

Tiffen announced their new line at NAB 2017 and in September told us a retail price of just $549USD/filter for the 4×5.65 and $699 for 6×6 (4×4 and screw on filters to be released end of the year). Named after its founder, Nat Tiffen, the NATural ND’s claim to have superior performance in the visual and IR spectrum. And after having had the opportunity to use them on a commercial project and a feature film, I’m happy to say they do not disappoint. The first time the 1.8 went in, I didn’t even notice it. I apologize for not making more of my time with them and testing more in depth, but I managed to at least do the following comparison under the consistent Arizona sun before I had to part with them.

Special thanks to Brett Cline and Melissa for standing in without their sunglasses! All images were taken on the Red Epic Dragon with the Highlight/Skintone OLPF at 5600k in 6kWS, 8:1 compression. No color grading has been applied to these except for some FLUT where the ASA wasn’t precise enough to match the exposure on the extreme ends.

No Filter
Tiffen NATural ND Clear

 

Tiffen NATural ND .3
Tiffen NATural ND .3

 

Tiffen NATural ND .6
Tiffen NATural ND .6

 

Tiffen NATural ND .9
Tiffen NATural ND .9

 

Tiffen NATural ND 1.2
Tiffen NATural ND 1.2

 

Tiffen NATural ND 1.5
Tiffen NATural ND 1.5

 

Tiffen NATural ND 1.8
Tiffen NATural ND 1.8

 

Tiffen NATural ND 2.1
Tiffen NATural ND 2.1

 

Tiffen NATural ND 2.1 + .6
Tiffen NATural ND 2.1 + .6

I was surprised at how little IR pollution there was, even when stacked. There is some slight color shift between filters (which even the TrueND have), but nothing like other filters in their price range. Here is the transmittance chart from Tiffen:

transmittance curve

Thanks to my friend Dennis Scully for getting us access to the filters, to Mark Bender at Tiffen and to Aiden Chapparone and AJ Kneip for completing this test while I was scrambling to light the next scene!

#Tiffen #NATuralND