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The new IMAX 3D film Born to be Wild, currently showing in IMAX theaters, tells the story of orphan orangutans in Borneo and orphan elephants in Kenya. The film was shot in both locations, combining footage from the IMAX 3D 15/65mm film camera and a prototype IMAX 3D digital camera. The IMAX digital camera uses a pair of Phantom 65 cameras and custom IMAX 3D optics.

On Born to be Wild, we used a prototype system to test the quality and reliability of the Phantom 65 cameras. As a Digital Cinema Specialist at AbelCine, I supported the Phantom 65 cameras in the field.

We shot in the jungles of Borneo for seven weeks under difficult environmental conditions from extreme heat to torrential rain. The temperature was over 100º almost everyday and the humidity was over 90%. This made for tough going on both people and hardware. The Phantom 65 cameras performed flawlessly in the heat and humidity of Borneo and in the dry, dusty heat of Kenya.

In addition to the reliability and quality of the Phantom images, the IMAX 3D digital camera allowed us to capture more spontaneous wildlife behavior than would have been possible with the IMAX Solido camera. The terms “lightweight” and “portable” are not often used on an IMAX 3D film shoot. However, the IMAX 3D digital camera allowed us to be much more mobile, often with the camera sitting on my lap as we changed locations. It also meant we could use smaller jibs and heads to support the camera, even a monopod for some shots!

…continue reading Phantom 65 in the “Wild” for IMAX 3D Shoot

Video capture with an HDSLR can be tricky with day exteriors, even when the camera is rated at 200 or 320 ISO. The Schneider True-Match Variable Density Filter system offers a quick way to get exposure into a workable zone. Aesthetically, the unit allows directors and DP’s to maintain a level of exposure that takes advantage of the larger sensor area of the HDSLR by keeping the f-stop low and the depth of focus shallow, thus delivering a more filmic look.

The True-Match filter system consists of a match set of filters that, when turned in opposite directions, create various levels of ND. By carefully matching these filters, blue shift has been eliminated at high-density settings. The range is 11 stops of exposure compensation. A 77mm True-Match circular pola is threaded onto the lens and a step-up ring is threaded into the 77mm polarizer filter. The step-up ring accepts a rotating 4×4 filter stage, which holds a 4×4 True-Match linear polarizer.

Compact Cine (aka Large Single Sensor) cameras like the AF100, PMW-F3, and the upcoming NXCAM FS100 all share one thing in common – they are small. This is great for tight situations, but many times we find the need to add an external recorder or on-board monitor to the camera. Not only does the camera grow in size when these accessories are added, but also the whole system requires more power. Many of our clients have been adding external battery solutions that power the camera, accessories, and also serve as counterbalance for their rig. Here are a few power solutions and mounting brackets that we’ve found for these cameras. Keep reading to learn more.

…continue reading Powering Your Compact Cine Camera