HD Video Pro

NAB 2013: Adobe After Effects CC

Clint Milby — Thu, 30 May 2013 00:32:56 +0000

Prior to NAB 2013, we had the chance to visit Adobe Headquarters in San Jose and get an overview of the new Creative Cloud, including After Effects CC, (check it out here: http://bit.ly/12MCxlw). At NAB, we were treated to

a private meeting with Steve Forde, Sr. Product Manager for After Effects CC, who gave us an up close and personal look at what we can expect in the latest version.

Refine Edge – Next Level RotoScoping

Forde breaks down just how easy it is to cut out complicated backgrounds at blazing speed.

It’s clear the team at Adobe has put in some serious time developing Refine Edge, as the once painfully long and arduous task of rotoscoping is reduced to a few seconds. Check out the video to watch him change a mountainous background to wooded plains without affecting the foreground action at all.

Maxon’s Cinema 4D Lite

Just like the Cycore plug-ins such as CC Light Sweep (which comes standard with After Effects), the new Maxon Cineware is a fully functional, limited version of Cinema 4D. This allows you to animate 3D objects using Maxon’s technology without ever leaving After Effects. Check out the video for a full demo of just how well this seamless integration works.

Creative Cloud

By now, your probably aware that Adobe is moving away from a box product to being a purely subscription process. I’ve actually been using the subscription service myself for the past year, and I can tell you as a long time Adobe user (Since 97), CS6 Creative Cloud has been the most pleasurable software experience I’ve had. Why, you ask? Well, for starters, the updates for all of the products of the suite come at lighting speed. In the past, you paid for Adobe’s production suite outright, and they then had your money for what may be two years or more.

Once you received the software and load it, their involvement was essentially over until the next release. However, because of the “subscription” aspect of Creative Cloud, the burden is upon Adobe. Now, swift reaction to problems and bugs (as well as a steady stream of feature enhancements) are necessary if they hope to retain their customer base. As they now know too well, if the customer isn’t happy, they can just cancel their subscription and take their business elsewhere. In my opinion, it’s a much more honest business model that keeps Adobe working for the ones who matter most: the customer.

One License For 2 Machines (different platforms, no problem!)

Secondly, with one license you can load the programs of the Creative Cloud on two machines. This is nothing new, but with Creative Cloud they can be two machines of different platforms. My tower at the office is a PC. However, I use a Macbook Pro on the road, and with one subscription, both machines are loaded with whatever apps I choose. This is incredibly awesome if you consider that in the past, one must choose either PC or Mac with most software licenses.

Access to Every App Adobe Makes

I’ve heard many people say they don’t want to pay the $49.00 for the Creative Cloud because they don’t want to pay for software they’ll never use. To this I say fair enough, but consider the freedom you have to explore all of the great programs Adobe offers at your leisure. Since moving to the Creative Cloud last year, I’ve been able to get my feet wet in Dreamweaver, Illustrator and others — a luxury I just wouldn’t have been able to afford or justify with just Production Premium. With video becoming the vernacular of the day, and an increasing demand for video and web integration, I think it behooves oneself to keep evolving their skillset just as technology and distribution also evolve. I guess I look at it as an opportunity to grow and enhance my skill set for tomorrow while getting the tools I need for today.

However, if you’re still convinced you’ll only need After Effects, and you don’t want pay for anything additional, then just get After Effects at $20 per month – a mere $240 per year.

Look for more information on After Effects, go to their website at: http://www.adobe.com/products/aftereffects/features.html

NAB 2013: Redrock Micro’s ‘One Man Crew’

Clint Milby — Mon, 27 May 2013 21:21:46 +0000

NAB 2013 will be remembered as the year of the improvement or refinement of existing products. This is true for many manufacturers but not Redrock Micro.Redrock came out strong at NAB 2013 with a new device that promises to help budget conscious producers raise the bar without increasing their budget or crew. As a testament to its ingenuity, the new ‘One Man Crew’ took two awards at NAB: Videomaker’s NAB Spotlight Award, and DV Magazine’s Black Diamond Award.

The ‘One Man Crew’ is a a new class of motorized ‘parabolic slider’ that operates unattended. It delivers smooth and elegant motion to what would be an ordinary, static shot achieved via a tripod. There’s absolutely nothing to assemble and no additional parts or motors to by to make it work. It’s rugged and durable and sets up on a tripod or any flat surface, again requiring no special set up or additional crew to operate or carry.

The heavy load tilt head will support a max load of twenty pounds. The unit comes with a power supply, carrying case and even has a handle on the body, making it easy to carry and move.

The simplicity can’t be over stated. Using a laser alignment system that shoots two intersecting lasers that show where the subject should be positioned, the ‘One Man Crew’ makes sure that your subject is in the perfect spot saving you time and trouble. Simply set it up on your tripod, counter, bed, dresser, keyboard stand, etc., attach your camera, line up your subject, and you’re ready to go.

“Don’t believe the hype!” This is my motto when I hear about something that sounds too good to be true. However, the proof is in the product. The ‘One Man Crew’ produces absolutely smooth shots, and the results are spectacular. Combined with its ease of use and an incredible price point of $1,495, the ‘One Man Crew’ is something every production crew (big or small) should have in their arsenal.

The ‘One Man Crew’ is available for pre-order for $1,495 and can be found at redrockmicro.com or see it in person at Cinegear Expo 2013 Booth 30 in Los Angeles, 5/31/13 – 6/1/13.

The One Man Crew is available as a complete kit for $1,495 more information is available at redrockmicro.com.

NAB 2013: Carl Zeiss Compact Zoom 28-80

Clint Milby — Thu, 23 May 2013 21:50:37 +0000

When you consider what to invest your money into in regards to camera equipment what comes to mind? Some may say the camera body, but with technology changing moment to moment the body is one of the most disposable pieces of a camera rig.

At best you may be able to get three to four good years before it’s time to replace it. If you’re talking a DSLR body, expect to lose 50% of what you paid for it if you resell it.

Rigs would be a good choice. They tend to hold their value and if you go with a company like Redrock Micro, you can just ad the pieces you need to accommodate your new camera when you upgrade. Talk to any career shooters, and they’ll say the best investment you can make is glass. As long as you take care of them, your lenses will never lose their value and in some cases they may increase in value. With adapters, you can rest assured no matter how many times technology changes, 1080p, 4K or dare I say 8k, your lenses will be ready to handle whatever body the industry throws your way.

Zeiss’s, Rich Schleuning adds this piece of advice prior to the introduction of their latest compact zoom, the 28 to 80. Any lens by Zeiss is an investment. A worthwhile investment, but an investment to be sure, as the new lens retails at $19,000. If you’re heart skipped a beat when you read that, don’t worry. It only means you’re sane. As Rich explains, the purchase of a lens should not be taken lightly. However, you should consider it, as glass more than anything else, can effect the quality of your footage and therefore, your career.

As big of an investment as lenses are, Rich gives some great advice on essentially dating a lens before you take the plunge. He also breaks down why the large sensor digital cameras and the new Blackmagic cameras demand a much higher quality lens than other cameras in the past.

For more information on the Zeiss CZ 28-80 and all of the other great lenses from Zeiss, go to their website at lenses.zeiss.com

Here’s the press release from Zeiss:

Carl Zeiss presents Compact Zoom lenses

The CZ.2 28-80/T2.9 can be seen for the first time at NAB Show in Las Vegas

OBERKOCHEN/Germany, April 5, 2013
Carl Zeiss presents its new zoom lenses from the Compact Family at the NAB Show 2013 (8-11 April) in Las Vegas at its booth C9043.Versatile, flexible and yet small and manageable – these are the characteristics that describe the Compact Zoom CZ.2 lenses. For the first time, the new CZ.2 28-80/T2.9 will be presented in the US. The Compact Zoom Family currently comprises the CZ.2 28-80/T2.9 and the CZ.2 70-200/T2.9; the latter won the prestigious iF product design award in February 2013.

The ZEISS Compact Zoom lenses weigh just 2.5 to 2.8 kilograms (5.5 to 6.2 pounds). “For cinema zoom lenses, that is very little. The light and compact design is ideal for hand-held and steadicam shooting,” explains Helmut Lenhof, Product Manager for the Compact Family in the Carl Zeiss Camera Lens Division. The lenses are suited for owner operators as well as episodic television series, documentary films, features and big-screen productions. Especially for shooting projects on a tight budget and time schedule, a ZEISS Compact Zoom lens is an extremely flexible solution. The zoom lens enables faster work and minimizes long set-up times.

Unlike zoom lenses for still photography, the Compact Zoom cinema lenses each have three independently moveable zoom groups. This complex design prevents undesired focus shift and ensures optimal image quality. The lenses have a continuous high aperture of T2.9 over the entire zoom range.

Filmmakers can also look forward to a new shorter super wide-angle zoom lens designed for the owner-operator when the Compact Zoom series will expand to a family of three at the end of 2014. This new zoom lens will replace the Lightweight Zoom LWZ.2.

As members of the ZEISS Compact Family, the zoom lenses are the perfect complement to the fixed focal length Compact Prime CP.2 and ARRI/ZEISS Ultra Prime lenses. Thanks to the exact color matching within the ZEISS cinema lens family, all lenses in this series can be combined flexibly with each other, with no visible deviations.

They cover full-frame format (24x36mm) and can therefore be used on HDSLR cameras, as well as professional HD video and cinema cameras. Being designed as full-frame lenses, they create a sweet spot effect and a uniformity of illumination when used on Super 35 sensors and are ‘future-proofed’ for next generation digital cinema cameras utilizing larger sensors.

Moreover, the interchangeable mount system makes it possible to use the lenses of the Compact Family on various camera models. The mounts currently available are for PL, EF, F, MFT and E. “Investing in this lens family is especially attractive for cinematographers and rental companies because the interchangeable mount also ensures the lenses’ long-term compatibility in the rapidly changing camera market. For all relevant future camera models, mounts will be available which the user can exchange very easily,” adds Lenhof.

Cinematographers can also rely on the quality features that ZEISS is known for:

The T* anti-reflective coating and the internal stray light reduction eliminate bothersome light reflections.

All Compact Zoom CZ.2 lenses have the same front diameter of 95 mm and the gears of the cine-style housing are always located exactly in the same position. This makes it possible to change lenses fast – without any adjustments to the rig or other accessories. The large focus rotation angle of almost 300 degrees and the calibrated focus scales ensure comfortable handling. All lenses in the Compact Zoom Family correspond to 4K production standards and cover a resolution of 4096 x 2160 with no distortion.

Australian cinematographer Warwick Brown has already used the Compact Zoom CZ.2 70-200/T2.9 for shooting a television production. “I have just finished shooting a dramatic short film using this lens and the Compact Prime CP.2 Super Speed lenses together. They are a real winning combination. The lens is sharp and handles highlights beautifully.”

The delivery of the Compact Zoom CZ.2 70-200/T2.9 began in early 2013. The Compact Zoom 28-80/T2.9 will be available starting June. Carl Zeiss authorized dealers are now accepting orders on both zoom lenses. The suggested list price of each Compact Zoom CZ.2 lens will be €14,900 or US$19,900 (excluding VAT).

The lead time for the Compact Zoom CZ.2 70-200/T2.9 is currently six to seven months. A higher demand as expected led to these lead times. Carl Zeiss will increase its production capacities in order to reduce the lead time to three to four months.

NAB 2013: Manfrotto 500 Series Tripod Head & Fluid Monopod

Clint Milby — Thu, 23 May 2013 20:54:39 +0000

Manfrotto released a new lightweight fluid video tripod at NAB 2013. The new 500 head will come with four different tripods, two carbon fiber and two aluminum.

Robust, this head will hold up to 11 pounds, over five times its own weight of just two pounds. They are intended to replace Manfrotto’s 701HDV video heads.

The 500 heads are targeted towards the growing number of still photographers coming into the video world, and share some features of Manfrotto’s photo tripod heads. For example, the base plate clips on and off as well as slides out as we are used to. The heads are made for video through and through however, and allow for super smooth video capture with precision stops and starts. The head supports a number of cameras and camera sizes, from the 5D to the F55, and even has one Easy Link 3/8″ connector that provides another place for any accessories to latch on to.

The 500 comes in two models, the MVH500A with a 60mm half ball mount, and the MVH500AH with flat base. Beyond that and a $10 difference in price they’re identical.

Manfrotto’s 561BHDV monopod is also available with the 500 head. The monopod provides smooth pan and tilt movements that partner perfectly with the 500′s own fluid movements.

The 500 tripod heads retail for $200 for the ball mount MVH500A, and $190 for the flat base MVH500AH. The package with the 561BHDV monopod retails at $345. They are available now at Manfrotto.us

NAB 2013: Atomos Ninja-2 Price Drop & DSLR Support

Clint Milby — Thu, 23 May 2013 20:46:51 +0000

After discovering Atomos back in January of 2013 at the San Francisco Supermeet, I was intrigued by the Ninja-2 especially when I realized a pending firmware update for the 5D Mark III would make it compatible with the Ninja-2.

This portable field recorder and touch-screen monitor, records footage at 10-bit 4:2:2 straight from the camera’s sensor. It can record to Apple ProRes or Avid DNxHD editing codecs onto 2.5” computer HDD or SSD drives.

This means good bye to cards forever. Beyond this, it’s full of all the features you would expect from a professional monitor including, peaking, false color and zebra. You can also play back your recording straight out of the Ninja 2 and set in and out points and other meta data as well.

The Ninja-2 features “continuous power”, where recording will continue, unimpeded, when the compact flash card is full. It does so with no signal interruption whatsoever, providing a healthy recording backup.

The Ninja-2 has a compact package, fantastic image quality and recording capabilities. However, as I shoot with the 5D Mark III, it was rather dishearening that this little lifesaver wasn’t compatible as the Mark III does not have a clean signal coming from the HDMI. However, as of April 30, 2013, that barrier is a problem of the past, and now the 5D Mark III is totally compatible with the Ninja-2.

While that is good news alone, that’s just the tip of the iceberg. In light of the update, Atomos is turning this into a sort of product reworking, offering a package at a lower price of $695, keeping it in line with the economic viewpoint of HDSLR cameras.

The new package comes with the Ninja-2 unit, a redesigned docking station, battery, AC mains adaptor, a single battery charger and shims for Canon and Nikon batteries. Look for our full review of the Ninja 2 coming soon, and for more information about The Ninja 2 and all of the great products from Atamos, go to their website at www.atomos.com/ninja

Shutterstock offers more than 1,000,000 stock video clips for films and video projects

David Willis — Tue, 21 May 2013 23:40:33 +0000

Whether uploading your own clips that are sitting around collecting digital dust or looking for clips to add to your own projects or edits, Shutterstock’s collection of video offerings available at (www.footage.shutterstock.com) has now grown to a family of more than one-million royalty-free clips. Stock footage sites like these are a great way to leverage a sedentary library of video content to an online, worldwide marketplace of clients that are open around the clock.

More information on the offerings from the press release:

New York – May 13, 2013 – Shutterstock, Inc. (NYSE: SSTK), a leading global provider of commercial digital imagery, announced today it has surpassed 1 million licensable video clips in its collection of royalty-free stock footage. The collection features a variety of content from vintage 8mm film to the latest Celebrity Footage, under a simple licensing model and affordable pricing.

“Reaching 1 million clips reflects the tremendous enthusiasm for video content right now,” said VP of Content Scott Braut. “Powerful video technology has become more accessible, giving artists the ability to create and consume more content on every platform.” Shutterstock’s collection enables everyone from enthusiasts to global companies to produce Hollywood-quality productions at affordable prices.

To celebrate this milestone, Shutterstock has worked with filmmaker Andreas von Scheele to create a short video made entirely from Shutterstock footage clips. Having worked on everything from feature films to commercial shorts, von Scheele remarked, “Shutterstock’s collection breaks through the glass ceiling of traditional stock footage libraries by offering such an immense variety of authentic and emotional content – the type of footage that works seamlessly alongside engaging and memorable professional work. Access to the collection makes me a better filmmaker.”

Shutterstock’s video library includes work from leading filmmakers around the world. Recent additions to the collection include action sports video from Novus Select, abstract slow motion clips from BIWA Studios, and CG animations by Chad Anderson.

About Shutterstock
Shutterstock is a leading provider of high-quality, royalty-free digital footage to production, post-production, media, advertising and marketing agencies worldwide. With over one million files currently available, Shutterstock adds thousands of new licensable video clips to its collection each week.

Headquartered in New York City, Shutterstock also owns Bigstock, a value-oriented stock agency that offers both credit and subscription purchase options.

For more information please visit http://footage.shutterstock.com, and follow Shutterstock on Facebook and @ShutterstockVid on Twitter.

Technicolor Releases Color Assist 1.5 – Adds Support For Adobe After Effects And AVCHD

Neil Matsumoto — Tue, 14 May 2013 16:06:24 +0000

Technicolor announces Color Assist 1.5, which now includes compatibility with Adobe After Effects.

A simple to use yet powerful color correction and grading software that I’ve been using the past year has been Technicolor‘s Color Assist. The software really draws on Technicolor’s long history in color science to bring powerful studio color grading to users seeking professional results. For Canon 5D Mark II or III users shooting with Technicolor’s CineStyle profile, Color Assist enables you to correct CineStyle’s flat and neutral look with an S-Curve that helps protect your highlights without crushing your blacks. In the program, there are also 25 Looks designed by Technicolor Colorists for quick grading and non destructive correction, as well as 3-Way Color Corrector, Key Selector & Curves Adjustments for advanced control.

Today Technicolor announced they will be releasing Color Assist 1.5, which includes compatibility with Adobe After Effects and support for the AVCHD format, as well as still images. As you probably know, After Effects is the industry standard visual effects and motion graphics standard and AVCHD is probably the most widely used consumer/prosumer video format. Technicolor has worked closely with Adobe to incorporate After Effects, as well as making a number of enhancements such as improved bin and browser navigation and workspace customization.

“The professional post-production tools Adobe offers enables our customers to create high-quality productions. Now Color Assist 1.5 builds on its existing support for Adobe Premiere Pro by adding compatibility with Adobe After Effects, therefore giving the post-production community more choices in the tools they use in their workflow,” said Simon Williams, Director of Strategic Relations at Adobe. “Creative professionals are always squeezed for time, and Color Assist 1.5 is quick and powerful.”

Color Assist 1.5 will be available for both Mac and PC users and supports Final Cut Pro 7, Final Cut Pro X, Adobe Premiere Pro CS5.5 and higher, and After Effects.

Color Assist 1.5 is compatible with Final Cut Pro 7, Final Cut Pro X, Adobe Premiere Pro CS5.5 & higher, and now Adobe After Effects.

Color Assist is available for purchase this week for $99 at www.technicolorcinestyle.com. Existing users can receive a free update that includes Adobe After Effects support and all the new enhancements of version 1.5, and new users can download a free, fully functional 14-day trial of Color Assist. Additional Color Assist Looks packages can be purchased for $19 and include 10 additional custom-created Looks per package.

StarTech.com Releases New Wireless HD Extender Kit – Transmits HD Signals From Up to 100 Feet Away

Neil Matsumoto — Fri, 10 May 2013 17:51:13 +0000

StarTech.com’s Wireless HD Extender Kit enables you to wirelessly transmit an HD audio and video signal up to 100 feet away.

StarTech.com just announced the release of a new Wireless HD Extender Kit, which lets you wirelessly transmit an HD audio and video signal from an HDMI source to a high-def display or projector up to 100-feet away. The extender kit contains a WHDI compliant Wireless HD transmitter unit and receiver unit, as well as an infrared remote control for added convenience. The wireless HD extender delivers full HD video, as well as audio and Infrared (IR), eliminating the need for cables.

“We are excited to bring the Wireless HD Extender Kit to market, as it is able to deliver 1080p video with the same performance as a direct cable connection,” said John Mardinly, Senior Product Manager for StarTech.com’s line of Audio-Video products. “WHDI is a standard that works well to deliver wireless high definition content, which is great for environments like boardrooms and classrooms where typical cabling creates clutter. Wireless HDMI is also an ideal solution for digital signage or retail POS applications where cables may get in the way of shoppers.”

Features of the Wireless HD Extender Kit include:

30m/100-feet of maximum HD extension
Includes both transmitter and receiver units
Supports full 1080p HD resolution, 7.1 digital audio
Pure hardware design with no software or drivers to install

StarTech.com’s Wireless HD Extender Kit will retail for $329.99 and is available from resellers such as CDW, Newegg.com, Amazon.com and more.

Please visit www.startech.com/wireless-HD for more information.

NAB 2013: The Blackmagic Production Camera 4K

Clint Milby — Fri, 10 May 2013 08:41:48 +0000

Blackmagic Design uleashed a campaign of “shock and awe” with the announcement of not just one but two cameras at NAB2013.

In this video, HDSLRShooter talks again to Kendall Eckman about the Blackmagic Production Camera 4K. Equipped with a large Super 35 sensor, professional global shutter, EF mount, and ProRes 422 recording, the Blackmagic Production Camera 4K is able to shoot “Ultra HD”. This endows the BPC with the ability to shoot in beyond high resolution and is in line with the new wave of 4K mania.

Besides Ultra HD, the BPC can shoot in 1080HD in 23.98, 24, 25, 29.97, and 30 frames per second. Blackmagic says that the camera will allow for the highest resolution “…music videos, episodic television production, television commercials, sports, documentaries, news stories, interviews and feature films.”

Equipped with a large Super 35 sensor, professional global shutter, EF mount, and ProRes 422 recording, the Blackmagic Production Camera 4K is able to shoot “Ultra HD”. This endows the BPC with the ability to shoot in beyond high resolution, and is in line with the new wave of 4K mania that’s become so prevalent over the past year. Besides Ultra HD, the BPC can shoot in 1080p in 23.98, 24, 25, 29.97, and 30 frames per second.

The BPC possesses a 6G-SDI connection (along with its other standard connection ports), enabling it to produce live video. The Super 35 sensor helps retain image quality regardless of lens, zoom level, etc., keeping the shooter’s lens options wide open, and has 12 stops of dynamic range for increased detail capture.

The BPC shoots in open file formats (Apple ProRes and CinemaDNG RAW) that make it easily usable with the variety of editing softwares available. With a wide variety of features, ports, and options, it’s clear Blackmagic is trying to make this camera an all in one Ultra Hi Res solution for whatever video project you may be shooting.

It also features another little surprise, a touchscreen, which is a departure from the original, providing an easily navigated menu and settings, as well as the entry of meta data too. The body also possesses a built in SSD recorder for recording onto solid state disks. The camera comes with copies of UltraScope and DaVinchi Resolve for live scoping and color grading respectively.

The Blackmagic Production Camera 4K will retail for the price of $3,995 USD, and will be available for purchase this coming July.

You can find out more about the Blackmagic Production Camera 4K at BlackmagicDesign.com

Tiffen’s Steadicam Smoothee for the GoPro HERO3 Black Edition

Neil Matsumoto — Fri, 10 May 2013 03:27:11 +0000

Operating Tiffen’s Steadicam Smoothee with the GoPro HERO3 Black Edition.

GoPro’s acquisition of video compression and workflow technology company, CineForm Inc., made them much more than just a wearable camera company. And with the HERO3 Black Edition’s ability to capture 2.7K in 24p with a Raw-like profile, cinematographers took immediate notice because they were now able to place GoPro action shots into an editing timeline side-by-side with ARRI ALEXA or Sony F3 clips. Because of this, there has been an explosion of new tools that enable shooters to capture cinematic shots with their small $399 HERO3 camera.

Since the GoPro is primarily an action camera, its obvious strength is movement. For surfing or snowboarding, you can mount a GoPro to a helmet or strap to your body but if you’re on foot, you’re going to need proper stabilization like a Steadicam to reduce camera shake.

Tiffen has recently released the Steadicam Smoothee, a camera stabilizer that is designed to work with the Apple iPhone 4/4S, 5, iPod Touch, GoPro HERO2 and 3. Tiffen sent me a review unit of the Steadicam Smoothee with a mount for my HERO3 Black Edition. Although much smaller and lighter, the Smoothee is based on technology that is similar to $60,000 Steadicam rigs that are used on big Hollywood productions.

The Steadicam is a camera stabilizing device that was invented in 1975 by camera operator and inventor Garrett Brown and mechanically isolates the camera from the operator’s movement, allowing you to capture smooth movement while walking or running, even while operating on an uneven surface. They contain a pivoted support, or gimbal, that allows the rotation of an object while remaining independent across a single access.

Tiffen’s Steadicam Smoothee is simple to use right out of the box. The device came with a special mount designed for the GoPro that you lock into the Smoothee by simply rotating a lever to a closed position, similar to any quick release plate. Once the camera is secure and you’re holding it by the handle, you make adjustments to the Steadicam’s balance by turning two knobs – one on the side that handles tilt from right to left and one on the back that handles tilting up or down. I was pretty much able to mount the camera, make adjustments to the balance and go.

You can operate the Smoothee using one or two hands. For one handed operation, you can place your thumb on the slot used to lock the gimbal in place and by lightly touching with your thumb, you’re able to balance, pan and tilt your camera. For two hands, one hand is on the gimbal handle and then with the other, you can place your thumb and index finger on the guide ring. I found I got the best results operating one handed with my thumb not touching the guide ring unless the camera started to drift. With a small amount of drift, it gives the frame a nice floating feeling.

With the GoPro attached, the Smoothee is quite small (approx. 8”W x 14.5” H x 2.5” D) so you can easily maneuver through tight spaces or crowded areas without calling too much attention to yourself, unlike a tradition Steadicam system. Also, because the HERO3 has the new LCD Touch BacPac (sold separately), you’re able to view your shots while shooting on the go. Because the GoPro captures extreme wide shots and shoots autofocus only, pulling focus is not an issue. But for narrative work, it’s important to remember that because of its ultra wide field of view (similar to a fisheye lens), the GoPro is not suitable for every type of scene.

The Steadicam Smoothee retails for just $169, which includes the mount, although you have to specify for which camera you own.

So if you want to capture your low-budget version of Danny pedeling his Big Wheel down the scary halls of the Overlook Hotel (just like Garrett Brown did for The Shining in 1980), Tiffen’s Steadicam Smoothee is the perfect tool for you.

Contact: Tiffen, (631) 273-2500, www.tiffen.com.