Shooting Stills and Motion in NYC

Last year, I wrote an entry on shooting stills on the streets of New York in our companion blog HDHD411. Because of the increase in video-enabled cameras in the hands of the public and a recent change in the permit application process by The Mayor’s Office of Film, Theatre & Broadcasting (MOFTB), I decided to write an update which addresses video and include it here.

The Basic Rules

The rules for shooting video are the same as shooting stills. You do not need a permit if you are shooting with handheld equipment. Tripods and monopods qualify as “handheld,” and, of course, if you are using stabilizers (like a Stedicam® Merlin™), or shoulder mounted rigs and others that depend points of body contact, you are fine. Put anything else other than a tripod or monopod on the sidewalk or street including, but not limited to a dolly on your tripod, an apple box, props, light stands, inverters, batteries, generators, or if you are using vehicles or impacting the flow of traffic, you will need a permit. If the scene you are shooting involves actors/models depicting uniformed public safety personnel, or involves prop firearms and weapons, you will also need a permit and NYPD presence is required. The definition of “handheld” covers photographic and video equipment like lighting and reflectors as well. A strobe mounted to a light stand placed on the ground requires a permit; the same strobe on an extension arm and carried by an assistant qualifies as handheld, and does not require a permit.

Made in NY Gets a Little More Expensive for Some

If your shoot — whether stills or motion— requires a permit, you must have insurance, the City of New York must be named as an additionally insured and the certificate must contain the language specified on the MOFTB site. As of July 11, 2010, the processing fee for initial applications for permits goes from no cost to $300. The fee, which is an  application processing fee and not a location fee,  is being implemented to offset budget cuts. It  must be paid in the form of a certified check or money order, and must accompany the permit application. Whether you are “CSI NY” and filming 18 plus episodes, or a photographer shooting a single editorial piece using two light stands, the initial or new permit application process will cost you $300. Student projects are not exempt from the permit process or application fee. It should be noted that MOFTB does have the ability to waive the permit processing fee if you can demonstrate economic hardship as outlined in the regulations.

The Middle Ground between a Permit and No Permit: The Optional Permit

While you can certainly shoot “handheld” without a permit, there are times when you might want some documentation that acknowledges your right to shoot at the location you have selected. MOFTB offers an “optional permit.” Why? Because every building owner, apartment dweller, homeowner and security guard is not aware of the rules as it relates to filming or photographing on public property in front or near their property. What the optional permit does is give you a piece of paper that acknowledges your right to be there. This acknowledgement can  quell a potential altercation. Even if you are doing everything handheld, if your shoot involves a number of people or is extraordinary in any way, it might be wise to get the optional permit. There is no fee or insurance requirement for an optional. 

Visit MOFTB

To read all the rules and regulations in their entirety, I strongly urge you to visit the MOFTB Website. You can also download the various forms and instructions from the Website. If you have any questions or concerns you should contact them. I have dealt with the MOFTB staff there on numerous occasions and they are courteous, knowledgeable and extremely helpful.

The MOFTB site will also point you in the appropriate direction for information on shooting in the various parks and other City properties which are administered by different departments or entities.

Whether you are operating with a permit, an optional permit or shooting without one, MOFTB indicates that you are expected to comply with the request of law enforcement officers.

A Comment on Permits for Our Readers Shooting  Outside of NYC

I always suggest to people that they not confuse the right to photograph and videotape with the right to use all kinds of equipment on the streets. If you are planning a shoot which involves placing any type of equipment on public property, you should check with the locality to determine what is allowed.  There is nothing worst than having your shoot shut down because of a lack of due diligence.

HDSLR Cameras: Products to Watch For

Periodically we will bring products to your attention that are new and noteworthy.


HDSLR Stabilization: Hoodman Style!

Hoodman, the California-based company that brought us the HoodLoupe 3.0®, the HoodLoupe 3x magnifier and the HoodCrane, has just introduced the DSLR WristShot®. The DSLR WristShot (pictured below,) essentially works by transferring the weight of the camera and lens to the forearm, thereby reducing

Image courtesy of Hoodman

the potential for wrist strain and fatigue. It is similar to their existing product for camcorders, but has been adapted for HDSLR use. The DSLR WristShot can support up to 10 pounds, and ergonomically makes the most sense, when used with HDSLRs, mounted on the right arm. When coupled with the Hood loupe and HoodCrane assembly, the DSLR WristShot offers users multiple points of contact for stabilization. The DSLR WristShot is available now at a suggested MSRP of $149.99. For more information visit: http://www.hoodmanusa.com/.

Disclosure: No consideration has been received in connection with this blog entry, nor has any manufacturer and/or retailer offered any consideration. All images which appear in this enty and blog are copyrighted and the property of their respective owners.



New e-Pub - Coming Soon


Okay, call this a shameless piece of self-promotion, but my e-book Beyond Stills: HDSLR Motion Capture for the Non-filmmaker (You Know More Than You Think You Know) and the companion Beyond Stills—Interactive Resource Guide will both be available later this month. Availability and additional information will be posted soon on the e-Pub page on this site.

Cover shot provided by Byron Atkinson

What's in our Sister blogs:


HDHD:  Frezzi: An Integrated Approach to HDSLR Lighting and Stabilization

Byron Says:  Story Telling

On LEDs and LEDZ

Not surprisingly, as more and more people embrace shooting stills and motion with HDSLRs, the interest in lighting products grows at a record pace. And many are discovering—and singing the praises of—LED lighting. While many HDSLR users’ initial exposure to LED lighting is often with the small units which can be seated in the camera hot shoe, those lighting applications are merely the tip of the iceberg in terms of applications for still and motion work. LED lighting, which is short for Light Emitting Diode, has become a staple in the film and broadcasting industry. I approached A.J. Wedding of ESS, the worldwide distributor of LEDZ products, to talk about the LED market and their unique product range.
To read more click here.

Beyond Stills: Getting in Motion with HDSLR Cameras Workshop at Calumet NYC

On Thursday May 13 and Friday May 14, I am running a two-day workshop is intended for the “non-filmmaker,” and is set up to provide an intensive introduction to shooting motion with a Canon HDSLR. This first workshop is being put on in concert with Calumet Photographic’s New York City Store, at 22 West 22nd Street (212-989-8500.)
The program is divided into two parts:
Part 1 will cover all the shooting fundamentals with a focus on understanding the camera set-up and equipment/accessories which can enhance the motion capture experience. Areas that will be explored include the following:
– Camera controls and settings
– Batteries and memory cards Stabilization and stabilization options
– Sound
– On-camera Lighting
– Essential equipment for motion capture
– Software alternatives and basic editing considerations
– Common shooting courtesy
Part 2 is intended to put you, the camera, the stabilizer and the other essentials together with a story or theme and provide an opportunity to apply what you’ve learned in the workshop. Areas that will be covered include:
– The importance of a story or theme
– Framing, composition, and movement
– Interior and exterior lighting (made easy)
– What you need to know about shooting stills and motion on the streets of NYC
– Editing considerations
Additionally, workshop participants will have an opportunity to develop a story and shoot their story with actor/models included in the workshop’s $299 cost.
(The Canon 5D MarkII and 7D cameras will be used for demonstration purposes and attendees are encouraged to bring their cameras and memory cards and other accessories if they so choose. We will supply the model, lighting, as well as some stabilization alternatives for use.)
Handouts covering both days will be provided for you to keep.
For More information about the course and to sign up, click here.

For information about the June and July dates additional workshops contact info@theimagician.com.
Regards,
Byron
As always feel free to look through the pages of "Outfitting Your HDSLR"

HDSLR Camera Accessories: White Balance Aids and Remote Controller Options

White Balance: The Foundation of Color Accuracy and Creative Editing
A white balancing reference aid can be an invaluable tool to take along with your HDSLR for use before and during motion capture. The reasons to custom or manually white balance your HDSLR video footage are the same as for doing it for still work: It allows you to make the decisions with respect to your color accuracy rather than relying on the camera to do so, and enables you to maintain greater control and consistency throughout your shoot. Setting a custom or manual white balance can reduce the need for some color corrections during the editing process. Additionally, accurate color capture is an excellent departure point for creative grading. While white balance is often spoken of in terms of color accuracy, it is as much about a pleasing appearance and /or the look you choose to create. If you are just beginning to shoot video and are editing with software that has limited color correction options, setting a manual or custom white balance may become even more important.

There are two ways to achieve in-camera custom/manual white balance:  The incident or reflective methods. The incident method of white balancing  involves placing a neutral "filter" over the camera lens and shooting a reference frame from the position of your subject, to measure the light and color of light hitting the subject. Popular aids using the incident method include Expo Imaging’s Expodisc and the Brno BaLens cap. The reflective method involves shooting a neutral gray or white card, and capturing and measuring the color of the light reflected by the card from the subject position back to the camera sensor for the reference frame. Products such as WhiBal, Vortex Media’s White Balancing Reference System, and a host of other 18% grey or white card-type products use the reflective method of measurement. Whichever method you use, the reference frame is used to set the custom white balance (you should refer to your camera manual for specific instructions as to how to use the reference frame to set the custom white balance).  As lighting conditions change, you should repeat the process for the best results. Is one better than the other? It really comes down to a matter of choice. Choice also extends to product price-points as there are white balance aids available at a variety of prices.

While there is a lot to be said for using products that have been manufactured to be color neutral or expressly to warm, cool or produce other specific results, there are people who use items like coffee filters and translucent plastic lid caps, as well as simple white paper or fabric to white balance. A word of caution, about using some of these products: White paper and fabric often contain brighteners or bleach which reduces their neutrality, and can result in color cast, so be careful.

Remote Controller Options for Canon’s 5D MarkII, 7D, Rebel T2i, and Rebel T1i Cameras

Do not underestimate the ability to stop and start the video functions of your camera via a remote controller. The benefit is that to the extent you do not have to touch the camera, you reduce the potential for causing camera shake. And with options from Canon that retail for under $30, the remote controller units should be essential for HDSLR shooters. The Canon RC-1 and the RC-5 (as well as the newly announced RC-6 remote controller) are capable of starting and stopping  camera video recording. The main difference between the RC-1 and RC-5/6 is that the RC-1 can be used for instant shutter release or a two second delay for still shooting while the RC-5/6 only has the two-second delay for stills. For stopping and starting video, you set the camera drive to one of the timer release modes. With the RC-5/6 you are ready to start your video by pressing the release. With the RC-1, you simply slide the switch to the #2 position and you can start and stop video recording by depressing the release button.  There is no delay when the controllers are used for video work.  Now the one drawback to the Canon remote controllers is that they require proximity and/or line of sight to the camera’s Infra-Red (IR) lamp on the front right side. I indicate proximity because depending on the camera model and the placement of the IR lamp,the start-stop can sometimes be activated if the controller is close enough without actually  having direct line of sight; but I would not want to take a chance or advise users to count on proximity working in the majority of situations.  Always strive for line of sight.

In order to address the proximity issue, Long Island-based Switronix has developed the Flex DSLR remote, the base of which can be mounted to a tripod or stabilizer. The Switronix unit uses a flexible gooseneck to allow the remote optical trigger to be placed in front of the camera’s IR sensor. The ability to position the optical trigger in this manner results in flawless wireless stop-start of the video functions without having to hold a remote controller in your hand.  While the Flex DSLR which sell in the vicinity of $150, is expensive relative to the Canon remote options, many users, especially those using the cameras for professional applications, will find it an attractive and viable solution.

So there you have it-- some additional items to consider adding to enhance your HDSLR motion capture experience. Feel free to click on the product insert below to get more information on some of the products mentioned in the entry as well as a few others which are noteworthy. Please note that the white balance products in the inset utilize the incident method of measurement. A separate entry on white balance aids which use the reflective method will be posted within the next few weeks in our companion blog www.hdhd411.com.
Click on the image below to enlarge.



Disclosure: No consideration has been received in connection with this blog entry, nor has any manufacturer and/or retailer offered any consideration.

A Promise Kept: New Firmware for the Canon 5D Mark II is on the Horizon

On or about March 17, the Canon 5D MarkII moves a few steps closer to becoming the “ultimate” HDSLR motion-capturing camera. That’s when the long awaited firmware announced in the summer of 2009, bringing enhanced functionality to the camera’s video capabilities, becomes available for download. The improvements included in Firmware 2.03 are far beyond what many had envisioned when Canon originally announced the planned firmware update, and as outlined in a recent release by Canon, appear to be well worth the wait. The improvements and new features include the option of recording at 24 and 25 fps (NTSC and PAL respectively), an adjustment of the camera’s original frame rate of 30fps to conform with the NTSC protocol, manual adjustment of recording sound levels, a change in sound sampling frequency to match that of the 7D and 1D MarkIV, shutter and aperture priority movie shooting modes which give users control over shutter speed and aperture, and histogram display during manual exposure shooting. I can’t recall a camera manufacturer that has implemented this number of substantial changes to a product, and one which is nearly 18 months old at that. While the changes do not bring all of the resolution and frame rate options available on Canon’s newest models to the 5D MarkII, they do bring consistency to what are probably the most widely used frame rates available on Canon’s latest releases (7D, 1D MarkIV and Rebel T2i.) and the 5D MarkII. Those using multiple camera models will appreciate this.

The nature of the firmware changes underscores the fact that today's digital image-capturing tools are computers. It also confirms the belief of many that manufacturers have tremendous latitude to adjust and improve products, as well as add functionalities during their lifecycles; unfortunately, many do not, opting instead to release new products. Canon could have easily introduced a new model and left the 5D MarkII as is; thankfully, they did not. As a HDSLR, these changes make the Canon 5D MarkII with its full frame (35mm film-sized sensor) an undeniable value leader in terms of price, features and image quality. This is tremendous for those who have been shooting with it since day one, and have come to appreciate what it offers as well as understand and work around its limitations for video, both capture and after-capture workflow. With this firmware release, a stellar imaging machine will be getting even better. The fact that the firmware update is free makes this all the more compelling. While Canon has not announced or indicated that similar firmware upgrades will be made available for other cameras, 7D and 1D MarkIV users must be wondering if they are going to see some of these enhancements made available for those cameras as well.

Canon does acknowledge that the new advances are targeted specifically towards professional video users. Last month’s announcement of the EOS MOVIE Plugin-E1 which was developed to enhance the workflow for Canon HDSLR users editing with Apple’s Final Cut Pro software makes it abundantly clear that they feel there is a substantial professional videographer market for the 5D MarkII as well as their other HDSLRs. The fact is that as the Firmware 2.03 has been described, most video shooters, from the seasoned professional to the enthusiast to the novice, should benefit from the changes and enhancements to the 5D MarkII, although as is the case with all camera features, everyone may not take advantage of them: By way of example, people who are shooting video without recording sound, may not appreciate the significance of the audio control and/or the frequency change.

As the ranks of HDSLRs grow, the technology continues to evolve. Not everyone is going to be happy with some of the features or the lack thereof or the balance between still and video capture capabilities. It is difficult—if not impossible—for a product to be all things to all people. This is and will remain particularly true for multi-media capturing devices. As far as Canon and the 5D MarkII are concerned, the bottom line is that Firmware 2.03 represents a promise kept and then some.

For more details on the upcoming 5D MarkII firmware release, click here.

UPDATE 3/16: The 5D MarkII firmware is available now. Make sure you read and follow the instructions carefully.

HDSLRs: The Ranks Continue to Swell

I have expanded the exhibit of cameras that was included in the inaugural issue of “Outfitting your H(d)SLR” to include the newest members of the class. The models have increased from two in the fall of 2008 to twelve today (including the Panasonic GH1 which is technically not a HDSLR.) That number will continue to grow as the interest in multi-media collateral for personal and business applications continues to grow. I have to admit that I was surprised that Sony released new DSLR models over the last several months without video capability.

But before we get to the chart, let’s look at a few statistics:

• Social networking continued to gain momentum in 2009 with nearly four out of five Internet users visiting a social networking site on a monthly basis

• During December 2009, 86.5 percent of the total U.S. Internet audience (up from 79% in April) viewed online video.

• During December, 134.4 million viewers watched more than 13 billion videos on YouTube.com (97.1 videos per viewer) versus 107 million viewers watching 6.8 million videos (64 videos per viewer) in April 2009.

• 44.9 million viewers watched 423.3 million videos on MySpace sites (9.4 videos per viewer) in December 2009 versus 49 million viewers watching 387 million videos (8 videos per viewer) in April 2009.

• The duration of the average online video was 4.1 minutes in December versus 3.5 minutes in April, 2009.
Source: Comscore Inc.  JN6F8B57VCJJ

What is clear is that the demand for video continues to grow.

In terms of the chart, I have included the Panasonic Lumix DMC-GH1 because although it is not a DSLR, there are aspects of the video implementation which are superior to some of the HDSLR offerings in the market, and its price (which includes a video optimized zoom lens) makes it competitive to some of those offerings as well.

(Click on chart to enlarge.)

As always I invite you to look through the current issue of “Outfitting Your H(d)SLR.” by clicking on the magazine embedded below.



Disclosure: No consideration has been received in connection with this blog entry, nor has any manufacturer and/or retailer offered any consideration. Consumers should check and evaluate the features on any equipment for themselves prior to purchase.