Which range finders are you mostly using?
When are you using them? On specific shots, or all the time?
Are you ever using an auto focus function (for example for shooting the slate?)
Where are, in your opinion the pros and cons of each range finder system?
In an ideal world, how should a range finder function, to make your live easier? What would be more important? Set-up time, functionality (like tracking functions), or price?
I'm a constant user of the Arri UDM. For me its an extra tool, just as the monitor is a tool, and my tape measure is a tool.
Since its all about time, and time is money, we sometime don't rehearse. The UDM is a life-saver, especially with actors and children who wont hit their marker.
At the prepping day I calibrate the horns compared to the sensor. Make lens files, and add the LCube for the read-out on the handunit.
On set I aim the horns a little bit downwards so they hit the throat, in my opinion the best spot.
The auto-focus is not for everyone. I sometimes use it, but only when we can rehearse. and I can really set the horns the right way. In most cases, a push in at the dolly or a steadycam shot. is when I use the auto function.
For me, there are no cons to the system. As long as you use them as a tool, and dont rely on it all the time.
But, I am dreaming of a system, which measures the whole picture, which i can see on a monitor, as some kind of overlay.
Rozemarijn - very interesting... Personally, I don't find the UDM/Cinetape to really be all that useful - I mean honestly, I will really only use it during rehearsals to grab quick marks, or to grab the slate with autofocus, but with the improvisational nature of what I'm doing these days (and Steadicam/dance floor dolly shots that change on the fly) I really don't find myself able to trust it... That said, on the last film I was just on we had Preston Light Rangers for our A and B cameras and they really were quite awesome. Like you said, it was something that you could physically see on your monitor that visually displayed the depth of field. I think the biggest downside of the system is that the FoV of the Lightranger2 unit is 6˚ vertical by 18˚ horizontal, so to make full use of that, you need to be on a 75mm lens or tighter (Super35). You can still use it on wider lenses, it just starts to measure less of the recorded image. This meant constantly adjusting the sensor block - we blew a few takes relying on the Light Ranger. Its also really quite large, bulky, & clumsy to use (like everything Preston) so there were many situations where we had to run without it due to Steadicam or remote head, etc etc... The updated sensor unit that Preston just announced (LightRanger-2W) is a 45˚ horizontal FoV and about half the size, which seems way more useful! It's a tad unfortunate that you'll probably need to own both to get the best use out of the system, but I guess such is life.
Personally, I think this is the future... LIDAR systems, or a similar multi-sensor distance-measurement array, displaying the information with an easy-to-understand user interface. Preston is really close but there is still tons of room for improvement - hopefully from an Austrian company (:
I own both the CineRT and the cinetape systems.
Both have saved me on numerous occasions. My favourite is of course the new CineRT. Been using it for a few weeks now and I must say: 'I'm in love..'
Yes, the bugs are nice and work ok but it's really only useful for certain shots. On most shots they're useless.
My favourite features of the CineRT are the -on the fly- adjustment of the angle (normal, Wide and Wide) and the ability to lock out certain distance readings during the shot. For example your subject closest distance is 1,5m but there's an actor in over shoulder up to 1,1m. Then I'll lock out all readings under 1,25m. Works great!
Much more useful and compact then the cinetape or UDM. And yes, it works with cMotion. CMotion was very helpful in providing them with the data to make up a custom CBus cable for me :-)
I totally agree with Rozemarijn, as almost everything in our craft is a tool and you have to squeeze the best out of it without totally rely on it, otherwise if it fails (and it will, trust me) you will be in trouble. I didn’t use it that often, but nowadays it became pretty popular in Spain so it’s something like a standard item on the camera list of medium/big productions.
i mainly use it in rehearsals and as a double check during the take. What I really like of it is using it to train my eye to guess distances on the fly (and learn to understand when is measuring well or not). Also for really slow push in or tracking shot I find it very useful.
i sometimes use the auto focus function to grab the slate, but I prefer to get there myself with the knob, so in the meanwhile I have the time to check that every camera parameter (nds, battery, card, color temperature, iris etc.) is right where it should be.
Last year i got to work a few days with a new system, the Focus Bug. Its was very very new and on the A-cam, i was the C-cam.
have you seen/heard of it? For me, it might be my next item to buy, but is still so very expensive for a tool....
you can 'bug' the slate or actors, track them with the autofocus knob...
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|Asked: 2/21/19, 7:27 AM|
|Seen: 652 times|
|Last updated: 4/26/19, 12:47 PM|