Let me throw one more thing into the mix. Trains are heavy and tracks are an early and cheap form of roadway. The ground rumbles and shakes as a train passes. Your tripod is a less stable platform than you think in such conditions. Regards, Bob S.
On 9/7/07, Bob Blakely <[EMAIL PROTECTED]> wrote: > The original question was tripod or no tripod for some still shots keep this > in mind. It'll help. > > One fellow, Glen Tortorella, said: > > > ... I find that when shooting a moving subject (i.e. a > > train), it is almost impossible to frame correctly when using a > tripod. > > I said: > > > The movie folks seem to be able to do this with ease, but then they > use a > > movie head with a large pan handle and smooooth movements. I've never > tried > > it but it seems that it would work, especially for trains. > Unfortunately, > > good movie heads are quite expensive. > > [aside: Remember, movie filming not withstanding, WE are still talking about > a STILL shot of a moving train.] > > Then you said: > > > And the movie folk get as many takes as they want. "Okay, back her up > and > > do it again." > > No, they don't when they shoot a train that's a mile long, takes a mile to > stop, hours to back it up, much time to get it up to speed, all while on a > commercial track thats likely to have another train comming through... and > they have done this! Framing for a train is trivial for those professionals. > It's confined to a specific place, the track. Further, we have it easier! We > are talking about a still shot! You know where the train is going to be when > you set up your shot (or you should). It's not like a car ora truck that can > move anywhere - it's on a track! You know about how high & wide the train > is. There are rules about this due to clearance requirements along railways, > and besides we've all seen trains and know their size - relative to the size > of the track if we need help. further, Since you know where the train is > going to be (or you should), focus on the track at the point where the train > to be when you pull the trigger! > > But more importantly, back to Mr. Tortorella, he's already shooting said > train hand held. He didn't have the luxury of retakes without a movie pan > head on a tripod and no one is immagining that he will need retakes if he > uses one. He didn't have the luxury of someone to adjust his focus for him > and no one is immagining that he will have someone to to do this or that he > needs such a person if he were to use a movie pan head on a tripod. > > Same - same. > > So back to the original point and it's associated question. > > ...and the difference between your hand holding and letting a movie head > hold the weight of the camera and reduce vibration for your still shot of > the train is... what???? What would make it "... almost impossible to frame > correctly when using a tripod." if a movie pan head were used???? is the > context! > > Regards, > Bob... > -------------------------------------------------------- > "Life isn't like a box of chocolates . . > it's more like a jar of jalapenos. > What you do today, might burn your butt tomorrow." > > ----- Original Message ----- > From: <[EMAIL PROTECTED]> > > > >I have no idea what you're asking. You said the movie folk make it look > >easy. I tried to explain that while it may look easy in the finished > >product, it takes a lot of work to get there. Nothing more. Peter attempted > >to make the same point. When shooting with a camera on tripod with a movie > >head or any head, you don't get a chance to frame before you shoot -- > >assuming you haven't hired a train and crew to work with you. You make your > >best guess and try to keep the train in frame as it roars by. That's easier > >when you're handholding. Been there, done that. > > Paul > > -------------- Original message ---------------------- > > From: "Bob Blakely" <[EMAIL PROTECTED]> > >> You keep the train in frame the "frame" of your choice until you pass the > >> point of shutter trip. You can know where that point is whether you hand > >> hold or use a tripod. > >> > >> Regards, > >> Bob... > >> -------------------------------------------------------- > >> "Life isn't like a box of chocolates . . > >> it's more like a jar of jalapenos. > >> What you do today, might burn your butt tomorrow." > >> > >> ----- Original Message ----- > >> From: <[EMAIL PROTECTED]> > >> > >> > >> > And the movie folk get as many takes as they want. "Okay, back her up > >> > and > >> > do it again." > >> > >> And you don't - and the difference between your hand holding and letting > >> a > >> movie head hold the weight of the camera and reduce vibration is... what? > >> > >> > Not to mention that they can get their frame and focus with the train > >> > parked. > >> > >> And you THINK you can't - and the difference between your hand holding > >> and > >> letting a movie head hold the weight of the camera and reduce vibration > >> is... what? > >> > >> > G[e]nerally, they mark the lens for different focus points along the > >> > track, and as the train moves with the camera rolling, the camera > >> > assistant "pulls focus." > >> > >> And you don't have this convenience - and the difference between your > >> hand > >> holding and letting a movie head hold the weight of the camera and reduce > >> vibration is... what? > >> > >> > >> > >> -- > >> PDML Pentax-Discuss Mail List > >> [email protected] > >> http://pdml.net/mailman/listinfo/pdml_pdml.net > > > > > > -- > > PDML Pentax-Discuss Mail List > > [email protected] > > http://pdml.net/mailman/listinfo/pdml_pdml.net > > > -- > PDML Pentax-Discuss Mail List > [email protected] > http://pdml.net/mailman/listinfo/pdml_pdml.net > -- PDML Pentax-Discuss Mail List [email protected] http://pdml.net/mailman/listinfo/pdml_pdml.net
