As such, I devised a way to use a full-size gimbal with the Xperia 1 II phone. These filters, and the filter holder, add weight to the device and even with counterweights, the motors on smaller phone gimbals are maxed and overtaxed.
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I always prefer single NDs over variable NDs and sometimes I’ll even use a filter like a Tiffen Black ProMist or Black Diffusion FX, but at the ranch, we just went with ND and polarizers, but it’s not uncommon to stack filters. With Cinema Pro mode on the Xperia 1 II, I always want to maintain a 180 degree shutter no matter the framerate I’m shooting at, so I had with me on location a whole complement of Tiffen ND filters and circular polarizers. For example, most phone gimbals are maxed out with just the weight of the phones. This worked very well.įor gimbal, which is what we used for the galloping shot, it’s important to note that some of the gimbals that are dedicated to phones don’t offer much latitude in the capacity of the gear they will fly. For handheld, I took the front handles from the Wooden Camera shoulder rig that I purchased for my VENICE and since it’s got a NATO rail between the two handles, I slid onto it a cool, NATO-style monitor holder that was the perfect size for the Xperia.
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With larger cameras this would have been an exceedingly challenging shot to get, requiring more and beefier camera support, more crew, and perhaps even specialized vehicles, especially had we shot with a large cinema camera.īefore the trip, I weighed my options for camera support and stabilization and settled on two solutions, gimbal and handheld. That we were able to get this shot speaks volumes about the efficiency of compact gear. I felt for a minute like Eadweard Muybridge as I was trying to pace and capture that galloping horse. Shocker, I know, but during one of our runs we clocked Tom’s horse at around 35 MPH. The shots of Tom and Sara on galloping horses were probably some of the most challenging shots in the whole film.
![dmpc pro evolution dmpc pro evolution](https://lcrack.net/wp-content/uploads/2019/06/VMware-Fusion-Pro-11.1.0-Full-Crack-macOS.jpg)
Where The Xperia 1 II Really Shined During Our Time At The Ranch As such, from sensor to sofa the film was created by two people, me and my good friend Adam Feuerman. That, and since we shot “The Wrangler” on a working cattle ranch, literally shooting in the middle of a branding and three cattle drives, a small and very mobile footprint was critical to our success. I’d imagine that for many of the creatives reading this, business has slowed and for filmmakers and photographers especially, what productions will look like, the protocols to stay safe, including smaller, leaner crews and fewer people on set, and smaller footprints both on stage, in studio and on location, the way we have shot for years until about this past April may not return for still quite some time. It should also be noted that “The Wrangler” was shot smack in the middle of the COVID-19 pandemic. With the evolution of this model Xperia and the further enhancements to the cameras and Cinema Pro application in version 2, the ease of shooting cinematically, and the quality of the files, are both taken to the next level. In the course of producing that film, I learned just how cinematic the Xperia 1 could be when shot in Cinema Pro Mode, a cinema camera emulator that comes standard in the device. Late last year, on Xperia 1 version 1, I shot “Madeline,” about a ballerina dancing around Downtown Los Angeles.
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“The Wrangler” is my second Xperia-based short film.