#a steadycam and a handheld

[theflagscene]

Khanin and Charan - it’s just us here.

New and Zee - Wearing cocksocks with three dozen people staring at them on a soundstage for days, with an intimacy coach hovering constantly to keep both Nunew and Zee’s bare asses in check.

[samireljattari]

Visuele stijl

Mijn stijl wordt gekenmerkt door snelle & dynamische bewegingen vaak op steadycams, afgewisseld met ruwe handheld shots.

Deze unieke combinatie zorgt voor een dankbaar contrast, dat samen met sterke composities en locaties met karakter, voor een visueel prikkelend werk zorgt.

[iredreamer]

(1) Hi! I'm the anon whose questions about 2.04's editing/lack of score etc. you answered in a 17 May post - no problems about taking a little while to get to it, I really appreciate your answer! Now I have thoughts about 2.06, in particular that final amazing exchange between the Ann(e)s, when Anne was both angry and anguished at the thought that she might not be enough for Ann, without children. It came to me today that I was reminded of the devastating "you came so close" 1.06 scene, when

(2) Anne cries in bed with Ann, exposing both her love and need for Ann’s affections, and sadness that she can’t (she thought) enjoy it in the long-term, stable way she craved. I haven’t liked a lot of the pacing of this season, and your great analysis a while back re the detachment of the camerawork (e.g. steadycam vs handheld, medium-range vs closeup) compared to S1 highlights another reason S2 seems less emotionally engaging. But this 2.06 scene went a long way to make up for all that! (3) And regarding pacing, I had found the scenes of Anne dealing with others (men) in her business ventures etc. to be somewhat too numerous, since they detracted from Anne/Ann scenes. But I guess they were meant to help contrast the public Anne from the one that only Ann sees on a regular basis, and to also show why Ann's full acceptance and love is so important to Anne ...

Hello friend :) lovely to read your messages. You mentioning the 1x06 scene compared to this scene made me think about a couple of things I wanna share...

It’s a rant, baby!!!

The – You came so close – scene is one of my absolute favorites, one I’ve tried many times to analyse and failed. It’s so personal for me that I really can’t put into words what it all means and what it makes me feel... but I digress. What I love is that these two scenes have some similarities but also Anne’s reaction is quite different.

In the 1x06 scene Anne completely breaks down because she sees her future, the future she longed for her whole life – I thoroughly intend to live with someone I love. I thoroughly intend to spend my evening hour with someone who loves me, someone who is there all of the time, to share everything with – completely vanish after she allowed herself to hope that it could become something real. And we see complete desperation, she doesn’t hold back at all – she tries at the start, but really, she doens’t try that hard. She’s not trying to be strong or stoic or anything of the sort. She makes herself completely vulnerable and I think she does it because she knows there’s nothing she can say or do in that moment to make Ann Walker change her mind. There’s nothing to lose because nothing actually became real. She also understands Ann and why she “can’t commit” to her, so she’s not mad or confused about Ann’s choice in the end. The whole thing doesn’t really come as a surprise to her. It still hurts her but it’s a kind of pain she knows.

What happens next is that Ann Walker, as always, surprises Anne (in the hilltop scene) and shows her that she’s brave and strong enough to commit to her, to face whatever may come next. At this point – after season one, after the reunion, and the wedding – things change significantly between them. Ann has made her promise and with that promise she’s basically saying that she understands all the implications of her choice. Their relationship is at a new stage and it is very different from the one we see in the 1x06 scene. They moved past all that. Or at least they should have.

When in 2x06 Anne sees that some of the things she thought were settled between them can still jeopardise their relationship she’s completely caught off guard. And we see how scared she gets as soon as Ann mentions children. This scene is quite different from the – You came so close – scene for a number of reasons:

their relationship is at a very different stage;

Anne – till that moment – was sure that their union was a strong one and now, all of a sudden, she’s not so sure anymore;

Anne’s completely caught off guard by what’s happening;

Anne has a LOT to lose here because the future that was only a possibility in season one now has become a reality;

everything is new – what happens in 1x06 happened to Anne before, many times – but this, now, her commitment to Ann, Ann moving into Shibden, their life together and all that, is a completely different thing, it’s new and Anne has no previous knowledge of how to navigate it all.

I think that these things are what make Anne react a little bit different this time around – we still see her be vulnerable and scared but in this new scene she handles the situation in a very different way.

Again, she has so much to lose here now that the future she longed for actually became a reality, and her fear to lose it all is even greater. Plus, she finds herself in unknown territory. She has no idea how to handle the whole exchange with Ann, she’s not sure what’s the best thing to say, she’s not sure what could happen next, she’s not prepared for this kind of pain. She doesn’t know it.

What does it feel like when your wife leaves you? What do you do after? I imagine those are some of the things that really hit Anne in that moment. And she has no answers to those questions. It’s all new. And she’s terrified to find out what the answers are. From all this, I think, comes the way she reacts and the fact that she tries very very hard to not break down till the very end. The pain she’s feeling, the extreme fear, the confusion are very new to her. And she doesn’t really know how to handle them properly.

She tries to rationalise and be strong, she doesn’t want to break down and cry. She’s calm at the start, trying to understand what Ann si saying. Then she can’t stay still anymore and she raises her voice. Then she reacts in a very impulsive way burning the letter. Her voice shakes when she tries to communicate what she’s feeling and what she needs from Ann. She raises her walls at first because she thinks she’s about to lose Ann and she won’t let Ann see her be vulnerable if that’s the case.

But finally she shows her vulnerability. And at the end it is Ann Walker who – with her caring touches, and extreme delicacy – let’s Anne know that she’s not going anywhere, Anne can break down if she needs to, she doesn’t need to keep it all in, she can feel scared and vulnerable because ultimately she’s not alone anymore. She won’t be left alone with her pain – Ann Walker is there with her.

I think both these scenes really shed light on how different the Ann(e)s are when it’s time to share and communicate things that scare them. In the scene from 1x06 it is Ann Walker who pushes Anne Lister to be sincere and open up about what is bothering her and in this new scene it’s Ann Walker the one who doesn’t shy away from dicussing difficult, potentially painful matters. Anne Lister is the opposite, when things scare her – when she’s scared she might lose Ann – she tends to not address the issue. For example she doesn’t open up about what happened with Mariana (even tho Ann Walker gave her more than one chance to do so) and in this latest episode (2x07) she doesn’t address the fact that she won’t be able to introduce Ann to her London friends.

Anyway, I’m not really sure where I’m going with this but yes, the last scene of episode 6 was the best scene of the whole season and really the whole episode was just exquisite.

[motioncompound-cablecam]

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[150289city]

HND1 – MOVING IMAGE {RESEARCH TASK}

Task #1 Research a selection of memorable adverts that have stuck with you since your childhood. • Describe what it is that you think makes these adverts so successful; • Study the way your chosen adverts have been shot and edited and the important role that sound and narration play in the production of these Ads.

Red Bull advertising has been with me for many years. It seems to me that its effectiveness lies in a short cartoon film that reproduces children's drawings and is funny in its own way. I remember that each time I was curious what cartoon movie would be the next time.

The sound and narrative was always perfectly suited to the people who were talking and the moment that was at the moment. here is a link to one of the many Red Bull ads

https://www.youtube.com/watch?v=SHdL4BgSz_U

Task #2 Research a variety of Moving Image techniques: - Camera movements: panning, tilt, zoom, tracking, dolly, pull focus; Composition: a} Focal length, long / standard / wide; b} Viewpoint, high (birds eye), eye level, low (on ya hunkers); c} Action, identify what is moving in the frame (to aid the transition 'cut on a move') • Now go back to the adverts you have selected and try and see if you can match the camera movements and compositions with the various shots utilised within your adverts.

The simplest movement - pan. This is the simplest camera rotation on the tripod head. The camera does not change its position here, but rotates along the axis. Movement in the image left-right (in the case of reportage it is the rule in accordance with the reading direction - if any text appears in the frame, it will be readable). It has to be smooth enough for your viewer to see the details of the surroundings, or very fast if you want to blur the background (and use it for a creative transition to another scene). Panorama is useful to, for example, track a moving object in the frame, show panoramic scenery or the distance between given objects.

Tilt As before, the camera does not change its place, but rotates in the up-down axis. With this movement, you can show how tall a given object is (e.g. a building or a tree) or show the entire silhouette of the figure (from head to toe).

Dolly The camera moves along with the operator on rails and moves closer or further away from the object in the frame. Of course, you can try to make such a move not only on a wheelchair on rails, but even on an armchair with wheels or a skateboard (I saw it in action). This movement allows the viewer to literally "enter" the action, gives the impression of following the protagonist and going deeper into the scene. With a small camera and a short distance of movement, you can use the slider. It is also visually much more plastic and natural than the zoom effect of a lens. If you combine the approach of the camera with the zoom, you can get a very interesting background effect, literally falling on the hero's head (the so-called vertigo effect).

Zoom (aka Transfocation) Here the zoom is caused by the change of the focal length of the lens, the camera does not move. Once often seen in movies, today rather in television reports. The camera approach looks more natural. Telephoto shots give the impression of standing right next to the figure in the heart of the action.

-zoom in - for example, by filming the full set of a person reading a book, and then zooming in on the book itself in such a way that the viewer can read the title and author's name from its cover.

- zoom out - here it can be the other way around - it starts with the detail, i.e. the book, then you move away and it turns out that the book is in the hand of a girl sitting on a park bench!

Raising-lowering (pedestal) This time the camera rises or lowers vertically along the axis. You can show, for example, the height of a basketball player or lower the staff by filming kids.

Truck driving As before - the camera moves on rails (or wheels), but this time parallel to the scene. In this way, we can follow the action like an outside viewer from the side of the stage. It is possible to use a slider at a short distance.

Camera crane (jib) The camera at the end of the long arm of the crane (typically 2 to 10 meters) moves a great distance and height. This is often used for coverage of events, concerts or sports events, the camera then flies over the audience's heads and hovers over the stage.

Handheld In fact, maybe I should say that this is a basic shot, since it only requires a camera and operator. The operator holds the camera in his hand and can move freely with it. On TV, shoulder cameras are used in this way for quick interviews and reportage, and in the cinema, sometimes the camera effect is simulated by hand to give the pictures credibility and the impression of someone watching the action. Dynamic action scenes (e.g. in war movies) are also filmed in this way to conquer the drama even more. When shooting handheld, it is worth remembering not to use a high zoom, it is better to stay in wide-angle shots. First, the image shakes much less then, and second, it looks more like something that can be observed naturally.

Shots with mechanical (steadycam) or electronic (gimbal) stabilizers. Thanks to such devices, the movement of the camera held by the operator is extremely smooth and is not limited by the range of rails or slider. A great technique to follow the action, sometimes the operator can literally run after the protagonist deep into the stage, but without a shaky image, which would not be too much to be seen in such a run. The movement of the camera is not only suitable for making the materials more dynamic, but it can also be used consciously to present information, show viewers the space where the action is taking place, make them “voyeurs” or be drawn into the very center of the plot.

Focal Lenght:

Long – This type of focal length gives the photographer a close crop effect and can be useful for nature and close portraiture (without the need to be right in at your subject’s face). Best used for: Bring far away subjects closer to the camera Emphasize blurred backgrounds Longer focal length is great for portraits Great for landscape photography.

Standard - These lenses offer natural-looking perspective. They’re good for two-shots of people, and mid shots (hips to head) but they give slight distortion if you use them for closeups. 50mm prime lenses are usually small and ‘fast’ (they have a wide maximum aperture to let in a lot of light).

Wide - lens is any lens with a set focal length that is shorter than the length of the sensor or film. For full frame sensors, a wide angle lens would be any lens with a focal length equal to or less than 35mm. These lenses are very useful for filming master shots of a whole scene, or getting in close and working in cramped spaces. They’re easy to handhold, perspective looks dramatic, and there’s good depth of field (a lot of the shot is in focus at the same time). The big drawback is that closeups will be distorted. If you want to shoot with just one prime lens, this may be the one to have.

Viewpoint - The position of the camera in relation to the subjects can affect the way the viewer perceives the scene. A scene may be shot simultaneously from multiple camera angles to amplify the cinematic effect and the emotions.

High (birds eye) An overhead shot is from way up high, looking down on your subject and a good amount of the scenery surrounding him or her. This can create a great sense of scale and movement.

The Eye Level Shot. When your subject is at eye-level they’re in a neutral perspective (not superior or inferior). This mimics how we see people in real life -- our eye line connecting with theirs.

A Low angle shot frames the subject from a low camera height looking up at them. These camera shots most often emphasize power dynamics between characters. A superior character with the upper hand is often framed from down low. This makes an inferior feel like they are looking up to them.

Camera framing is the placement and position of the subjects in your shots. Shots are all about composition. Rather than pointing the camera at the subject, you need to compose an image. For filmmakers and videographers, a major consideration for framing is the number of subjects you feature in your shots, and their physical relationship to each other and the camera.

Considerations when camera framing a shot: Size — the size of your subject has a direct relationship to the importance of that subject. Relationships — when we see more than one character in a shot, we are meant to acknowledge their relationship (romantic, contentious, etc.) Balance — a "balanced" frame includes elements on the left and right side of the frame.

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[bruisedconscience]

LOOOOVE THIS SHOT FOLLOWING RIGHT BEHIND GREY ON THIS HANDHELD STEADYCAM OR SOMETHING I LOVE IT

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[drone-reference]

"The world's concept of love focuses on feelings a lot. In the bible love is not basically a feeling but an attitude that is expressed by serving and caring actions. It cannot be with just your words.. or even your well-intentioned vows. Your words must be clothed in action day after day. Love is something.. you choose to do." We spent a beautiful spring morning with a fun and lovely couple, Kellee-Morgan & Colin. An adventurous pair who couldn't help but find a way to celebrate their special day in such an intimate environment with a few friends and family. Kellee-Morgan & Colin's joyous celebration became the sunshine on a cloudy day. The love these two have for each other is absolutely contagious. :P Congratulations again, Kellee Morgan & Colin. We are glad we got to capture such an intimate memory with you two. Enjoy & Share. Follow Fesiuk Films on... Facebook: http://bit.ly/2DYKd1b Twitter: https://twitter.com/fesiukfilms Instagram: http://bit.ly/2nG9XV1 Official Website: http://bit.ly/2DYKelL Destination Weddings / Events / Projects / Commercials / Films We are Award Winning Filmmakers We are Luxury Destination Wedding Cinematographers. We don't make wedding videos. We create cinematic love stories. We take high priority in understanding the importance of filming raw feelings, unexpected moments, and capturing vivid details surrounding your wedding day. We can't imagine you not being able to hear and see yourselves exactly as your are in this moment.. twenty years from now. Gear We use: Panasonic GH5 Lumix 4K Mirrorless , 20.3 MP, Wi-Fi + BT Metabones Speed Booster XL 0.64x Adapter for Full-Frame Canon EF-Mount Lens to Select Micro Four Thirds-Mount Cameras Canon EF 50mm f/1.4 USM Standard & Medium Telephoto Lens for Canon SLR Cameras - Fixed Samyang SY50M-C EF Cameras Standard-Prime Lens Fixed Prime for Canon EOS EF Digital SLR Rokinon DS24M-C Cine DS 24mm T1.5 ED AS IF UMC Full Frame Cine Wide Angle Lens for Canon EF DJI Phantom 4 Tascam SGC-598 Photography Interview Shotgun MIC Microphone Zoom ZH1 H1 Handy Portable Digital Recorder TASCAM DR-10L -Channel Portable Studio Recorder Sony ICDUX560BLK Stereo Digital Voice Recorder with Built-in USB FLYCAM 3000 23”/58cm Professional Handheld Camera Steadycam Fancierstudio Professional Heavy Duty Video Camcorder Tripod Fluid Drag Head Kits DIGIANT MP-3606 Professional Camera Monopod 70" Telescoping DSLR Monopods with Removable Camera Tripod Base 3-way Fluid Pan-Head ProAm USA SimpleSLIDER Compact Camera Slider Dolly PROAIM Spark 17" Video DSLR Camera Slider Julius Studio 3x 216 Barndoor Continuous LED Video Lighting kit Dimmable Panel

[dominikagruzlewska]

MOVING IMAGE - RESEARCH

CAMERA MOVEMENTS 

PANNING  – the technique when the camera turns directly right or left. Camera is locked on a tripod in the axis of the photographed object. This technique refers to the movement that the human head makes when tracking an object.

TILT –  is similar to panning in that the camera is kept in a stationary position, but unlike panning (which looks from side to side) tilting focuses on upwards & downwards movements. Using a tilting motion helps to fit more into a single frame. A slow upwards tilt can be very effective in making a subject appear bigger or more significant while a downwards tilt has the opposite effect.

TRACKING - trucking involves moving the entire camera along a fixed point, but the motion goes from side to side, rather than in and out. It’s often used to follow characters in action. Mounting the camera on a fluid motion track will help to stamp out any jerking camera movements.

ZOOM - gives the impression of moving closer or further away from the subject. It can be used effectively to magnify a certain focus point in the frame. While a quick zoom can help add a sense of drama and energy when used correctly, avoid over-using zoom as your default.

DOLLY - dolly shot is when the entire camera is mounted on a track and is moved towards or away from a subject. Unlike a zoom shot, the world around the subject moves with the camera. A dolly gives the illusion that the viewer is walking towards the subject and can be a great way of creating a sense of intimacy between them.

PEDESTAL - (AKA Boom up/down or Jib up/down) involves moving the camera upwards or downwards in relation to a subject. It’s different from tilting in that the entire camera ascends or descends, rather than just the angle of the camera. A pedestal shot can be used to frame a tall or high subject (such as a building) while keeping the framing at eye level view for the viewer.

PULL FOCUS – is the change of your focus point from one area/subject to another. It can be used to emphasise and draw attention to a specific detail.

PAN SHOT - camera pans rotates the camera side to side on a horizontal axis. This can reveal something to your viewer or allow them to follow an action.

WHIP PAN SHOT - a whip pan happens when you pan the camera from one shot to another, creating a motion blur.

CRAB SHOT - the crab shot is basically a dolly shot that moves horizontally like a crab.

ARC SHOT - arc shots are camera shots where the camera moves around the subject in an arc pattern so as to show more of the surroundings.

SHOTS INDICATING SUBJECT SIZE 

LONG SHOT - (aka Wide Shot)  it is a camera shot that shows the entire subject from head to toe and places that subject in relation to their surroundings. The long shot is also called a “wide shot” or “full shot” and it’s used to show the relationship between characters and their environment. This shot often sets the scene and our character’s place in it.

MEDIUM SHOT - shows part of the subject in more detail. For a person, a medium shot typically frames them from about waist up. This is one of the most common shots seen in films, as it focuses on a character (or characters) in a scene while still showing some environment.

CLOSE UP - fills the screen with part of the subject, such as a person’s head/face. Framed this tightly, the emotions and reaction of a character dominate the scene.

EXTREME LONG SHOT - captures a very wide area to show the scale of subjects in relation to their environment, like tiny birds in a forest. It is typically used as an establishing shot when changing from one big area or city to another.

EXTREME CLOSE UP SHOT - emphasizes a small area or detail of the subject, such as the eye(s) or mouth. An Extreme Close Up of just the eyes is sometimes called an Italian Shot, getting its name from Sergio Leone’s Italian-Western films that popularized it.

CHOKER - a variant of a Close-Up, this shot frames the subject’s face from above the eyebrows to below the mouth.

FULL SHOT - frames character from head to toes, with the subject roughly filling the frame. The emphasis tends to be more on action and movement rather than a character’s emotional state.

MEDIUM LONG SHOT - medium Long Shot (aka 3/4 Shot)  Intermediate between Full Shot and Medium Shot. Shows subject from the knees up.

COWBOY SHOT - cowboy Shot (aka American Shot)  A variation of a Medium Shot, this gets its name from Western films from the 1930s and 1940s, which would frame the subject from mid-thighs up to fit the character’s gun holsters into the shot.

SHOTS INDICATING CAMERA ANGLE/PLACEMENT 

DUTCH ANGLE SHOT - shot in which the camera is set at an angle on its roll axis so that the horizon line is not level. It is often used to show a disoriented or uneasy psychological state.

HIGH ANGLE - subject is photographed from above eye level. This can have the effect of making the subject seem vulnerable, weak, or frightened.

EYE LEVEL - shot taken with the camera approximately at human eye level, resulting in a neutral effect on the audience.

LOW ANGLE - subject is photographed from below eye level. This can have the effect of making the subject look powerful, heroic, or dangerous.

OVER THE SHOULDER SHOT – a popular shot where a subject is shot from behind the shoulder of another, framing the subject anywhere from a Medium to Close-Up. The shoulder, neck, and/or back of the head of the subject facing away from the camera remains viewable, making the shot useful for showing reactions during conversations. It tends to place more of an emphasis on the connection between two speakers rather than the detachment or isolation that results from single shots.

BIRD’S EYE VIEW – (aka Top Shot) it’s a high-angle shot that’s taken from directly overhead and from a distance. The shot gives the audience a wider view and is useful for showing direction and that the subject is moving, to highlight special relations, or reveal to the audience elements outside the boundaries of the character’s awareness. The shot is often taken from on a crane or helicopter.

POINT OF VIEW - shot intended to mimic what a particular character in a scene is seeing. This puts the audience directly into the head of the character, letting them experience their emotional state. Common examples are of a character waking up, drifting into unconsciousness, or looking through a scope or binoculars.

OTHER COMMON SHOTS TYPE 

Cut-In - similar to a Cutaway, but shows a Close-Up shot of something visible in the main scene.

Cutaway - a shot of something other than the subject and away from the main scene. It is usually followed by a cut back to the first shot and is useful for avoiding a jump cut when editing down a section of dialogue, or editing together two separate takes.

Establishing Shot - usually the first shot of a scene, this is used to establish the location and environment. It can also be used to establish mood and give the audience visual clues regarding the time (night/day, year) and the general situation. Because they need to provide a great deal of information, Establishing Shots are usually Extreme Long Shots or Long Shots.

Master Shot - term given to a single, uninterrupted shot of a scene. This shot can be the only shot used by a director to cover a scene, or edited together with additional shots. While it’s commonly a Long or Full Shot, a Master Shot can be a closer shot, or consist of multiple shot types if the camera is moving throughout the scene.

Reaction Shot - shows a character’s reaction to the shot that has preceded it.

Reverse Angle Shot - a shot taken from an angle roughly 180 degrees opposite of the previous shot. The term is commonly used during conversation, indicating a reverse Over-the-Shoulder Shot, for example.

Two Shot - a shot in which two subjects appear in the frame.

EQUIPMENT 

TRIPOD – is used to stabilise the camera in static shots, also used for panning and tilt shot as movements can be smooth and controlled.

CAMERA SLIDER SHOT - a slider is a piece of equipment that “slides” your camera on a vertical or horizontal axis. It’s sort of like a dolly mounted on a tripod that creates smooth, sweeping camera moves.

HANDHELD CAMERA SHOT - are held and moved by a camera operator. They aren’t stabilized and often shaky. They can add a gritty feel to a shot.

STEADICAM SHOT - uses a camera stabilizing device that attaches to the camera operator. It uses a counterbalancing system for smooth and stable camera moves. Steadycam is the broad name for this camera mechanism, while the Tiffen Steadicam (with an 'i') is the model name used by Tiffen.

GIMBAL SHOT - gimbals are another camera stabilizing device that use motorized gyroscopes to reduce friction. It is more compact than a Steadicam and completely handheld. This allows it to fit through tight spaces.

CRANE SHOTS - a crane shot often sweeps up and over a scene. It is a great way to create first or final shot for a film.

JIB SHOT - a jib is a crane device that sweeps the camera up and over a setting. A jib is similar a crane, but with more limited range and movement. It's compact and utilizes counter-weights.

DRONE SHOTS - these camera shots attach to a drone to fly over or alongside your subject. They're often used for aerial shots or when shooting an exciting car chase. Drones are way cheaper than helicopters and can operate in spaces helicopters can’t.

WIRE SHOT- in this shot, the camera moves on a cable or wire for deliberate, smooth moves. Like drones, wires get much closer to the action than helicopters. These are often used in live concerts and sporting events.

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FLYCAM HD-3000 24″/60cm Micro Balancing Handheld Steadycam Stabilizer for DV HDV DSLR Video Cameras up to 3.5kg/8lbs + FREE Table Clamp & Quick Release Plate (FLCM-HD-3-QT)

Price: $165.00 (as of May 20,2020 04:05:04 UTC – Details)

Flycam offers TRUE QUALITY with PRECISION DESIGN at a REASONABLE Price!Flycam 60cm long HD-3000 is a lightweight & compact handheld stabilizer that offers advanced features which transform your shaky camera footages into smooth & professional footages.It is created for DSLR & video camcorders weighing up to 3.5kg/8lbs.Most affordable in the market,this steadycam comes with Micro balancing technique for precise balancing with real ease.It allows you to take incredibly smooth shots even when you are running, going up/ downstairs & even shooting on uneven terrains.The Top Camera Base plate has 1/4″-20 mounting slots to hold most camera bases.Quick release plate has ¼”-20 & 3/8” -16 screws that enable quick mounting & dismounting of cameras.Comfortable foam cushioned handle attached with 3-axis gimbal lets you move the stabilizer up and down or side-to-side according to your need.To adjust the camera’s vertical balance,you can either change the length of tool-less telescopic Central Post or by varying the counter weights. WHAT’S IN THE BOX Flycam HD-3000 Handheld Stabilizer FREE Heavy Duty Table Clamp FREE Unico Quick Release Plate FREE Storage Case SPECIFICATIONS – Construction-Aluminium black anodized stabilizer – Weighing capacity-3.5kg/8lbs – Head Dimensions-7.5×4.2 inches – Base Platform Dimensions-Shortest-9.5 x 4 inches – Base Platform Dimensions-Longest-14.5 x 4 inches – Flycam length min:40cm – Flycam length max:60cm – Number of weight plates-16 pcs – Weight of single weight plate-90 gms – Flycam weight without weight plates-appx. 1.2 kg / 2.6 lbs NOTE:Return shipping fee must be paid by the buyer unless the product is defective and does not function as intended

FLYCAM Head Assembly – Quick Release Plate – Central Post – Base Platform with 16 Weight Discs – Table Clamp – Mounting Hardware – Storage Bag – FLYCAM 1 Year Warranty Precise Micro Balance Handheld Stabilizer – allows you to balance the set up with ease, saves your time Top Plate is adjusted on both X & Y axis; Quick Release Plate accepts all DV HDV DSLR Video Cameras Foam Cushioned Handle Grip attached to 3-Axis Gimbal lets your hand move up & down and side to side, isolating unwanted hand’s motion from camera Vertical Balance is adjusted by varying amount of counterweights on base platform or by changing length of Tool-Less Telescopic Central Post

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[drone-reference]

"Devin, the first moment I saw you.. I swiped right." - Laura :P Every couple has a love story and Devin & Laura's began with a single swipe on Tinder. And we had the privilege to follow one of the most important details of their story, their wedding day which they celebrated in The Lakefront Ballroom at Trump National Golf Club in Charlotte. The joining together of Laura & Devin was a joyous celebration for both family & friends. And we wish many blessings to such a very special couple. Congratulations again, Laura & Devin. =D Enjoy & Share. "In life, we are all presented with opportunities. What separates us.. are those willing to seize them." Follow Fesiuk Films on... Facebook: http://bit.ly/2DYKd1b Twitter: https://twitter.com/fesiukfilms Instagram: http://bit.ly/2nG9XV1 Official Website: http://bit.ly/2DYKelL Destination Weddings / Events / Projects / Commercials / Films We are Award Winning Filmmakers We are Luxury Destination Wedding Cinematographers. We don't make wedding videos. We create cinematic love stories. We take high priority in understanding the importance of filming raw feelings, unexpected moments, and capturing vivid details surrounding your wedding day. We can't imagine you not being able to hear and see yourselves exactly as your are in this moment.. twenty years from now. Gear We use: Panasonic GH5 Lumix 4K Mirrorless , 20.3 MP, Wi-Fi + BT Metabones Speed Booster XL 0.64x Adapter for Full-Frame Canon EF-Mount Lens to Select Micro Four Thirds-Mount Cameras Canon EF 50mm f/1.4 USM Standard & Medium Telephoto Lens for Canon SLR Cameras - Fixed Samyang SY50M-C EF Cameras Standard-Prime Lens Fixed Prime for Canon EOS EF Digital SLR Rokinon DS24M-C Cine DS 24mm T1.5 ED AS IF UMC Full Frame Cine Wide Angle Lens for Canon EF DJI Phantom 4 Tascam SGC-598 Photography Interview Shotgun MIC Microphone Zoom ZH1 H1 Handy Portable Digital Recorder TASCAM DR-10L -Channel Portable Studio Recorder Sony ICDUX560BLK Stereo Digital Voice Recorder with Built-in USB FLYCAM 3000 23”/58cm Professional Handheld Camera Steadycam Fancierstudio Professional Heavy Duty Video Camcorder Tripod Fluid Drag Head Kits DIGIANT MP-3606 Professional Camera Monopod 70" Telescoping DSLR Monopods with Removable Camera Tripod Base 3-way Fluid Pan-Head ProAm USA SimpleSLIDER Compact Camera Slider Dolly PROAIM Spark 17" Video DSLR Camera Slider Julius Studio 3x 216 Barndoor Continuous LED Video Lighting kit Dimmable Panel

[atravellerssolitude-blog]

The intended ‘look’ of this film is a raw, grungy style in order to match the different city street environments in which  much of the film will be shot.  The appearance of the film, whilst it will be shot entirely on digital, will mimic the look of Super 16mm film. In particular Fujifilm film stocks which often lean towards a colour pallet of cooler tones will be used as a reference during the grading process.  The mood of the documentary will be conveyed through it’s colour.  Cool colour tones such as blues, greens, dull yellows and browns will predominantly be utilised.  The camera work will be entirely handheld to further match the look of a handheld 16mm film camera, and stabilisers such as dollies, tripods, steadycams and gimbals will not be used.