ikan News Blog

Sometimes your product sells itself. Sometimes people like to help, go beyond the expected and act from grace. That’s the way Gratis 7 Media group is. If you haven’t heard of them, I highly recommend you go educate yourself (here’s a link). Their latest film, RISING FROM ASHES, documents the struggles of creating a Rwandan national cycling team and the life of the local peoples–in a place which many’s freshest memories are of the genocide in 1994, between the Hutu and Tutsi ethnic groups. (For a refresher on the conflict , “Origins of Tutsi and Hutu”

…What’s more, they even reviewed the ikan equipment they brought with them to Africa, covering their usage (and benefits) in rugged territories. This is the video they provided us (and we didn’t even ask!) Yes, these guys are epic.

http://www.vimeo.com/17856150

“I can’t thank you enough…We literally used [our equipment] every day. The lights were used for every BTS interview and we used the small LED quite a bit as accent lights in the field. It proved to be the perfect set up for this production. We would have never had time to set up hot lights with the pace we were running…Also the monitors worked out for a interesting purpose. I was able to watch the footage from the GoPro cameras on the monitor as the camera has no way of showing the footage. It was clutch for this. Also, the one thing I was not expecting was how much we used the backpacks. They were used everyday.”

Thank you, again, TC, Jeremy, and the rest of Gratis 7 for pursuing your own dreams. They are a benefit to us all! I hope to see this piece and more inspirational projects from Gratis 7 this year.

One more thing.

We here at ikan want to wish you a happy New Year!  And once more, congratulations to our Contest Winners! Again, if you havent had a chance to view the entries, go here, or view our previous post for the top three winners.

So  remember (because remembering is so much more a psychotic activity than forgetting), if you need help leveling the playing field in 2011, ikan is at your side!
–The ikan team

Hey guys, welcome back to another edition of ikan’s series “Tip of the Week.”

This week we’ll cover an up-and-coming mount for your RECOIL (or preferred shoulder mount) that will give you rig wiiings rails and a quickmount to better serve your needs.  Most of the time, with what adapters and rigs and shoulder mounts available on the market, we really just need a few solid functions:

1. Quick mounting for tripod use
2. A camera mount
3. Rails for accessorizing (a follow focus, grips, batteries, etc)

Which boils down to…what? A multi-functional essentials rig for use in varied applications, such as tripod and shoulder mount use, which then can be modified and re-designed on the fly.

NOTE: some of you may have already seen a leaked version on various forum boards, but I’d like to officially post it HERE.

For this rig flavor, you will need:

• Ikan RECOIL (or preferred shoulder rig of your choice)
• ELE-TM Tripod mount
• ELE-15r12 (2 x 12” 15mm industry standard rails)
• 2 x ELE-15RM Rail mounts
• 1 x ELE-PT
• F3 Follow Focus
• 1 x ELE-15RDA Rod adapter
• 1 x ELE-GB-F Grip Bar

All other products listed, without links, can be found here at the ikancorp Elements page

More Photos:

youtube.com/watch?v=y0FkGH2c

Thanks to Maurice and everyone at Camera Dojo for reviewing the Multi-K.  You can read the entire review here on their website: http://cameradojo.com/ikan-multi-k-led-light-variable-color

Director/Producer/Cameraman Federico Pardo used the ikan V5600 Deluxe Kit during the production of the documentary COTTON-TOP.   In the following essay, Fredrico describes the challenges of shooting in the treacherous jungles of Colombia and how the ikan V5600 performs in the harshest of conditions.

The film was shot in November of 2009 in the Tropical Dry Forests of Colombia were physically challenging and the overall ruggedness of the production required a lightweight and reliable external monitor. IKAN production tool for this natural history documentary shot on the new DSLR Canon 7D. As one of the pioneers on DSLR filmmaking I would highly recommend the IKAN demanding field productions.

As mentioned above, the DSLR Canon 7D was the camera used for the production.  During principal photography the camera was the ideal production tool for advanced cinematography. When shooting with the custom made jib in the field, IKAN allowed me to carry it everywhere, its 5.6” screen was the cinematographer when doing macro-cinematography, it from a more comfortable position.

To better understand why IKANʼs V5600 Deluxe Kit was vital during the production, here is a summary of a standard production day. To get to the locations (open savannas, tropical forests or rural areas), we would normally hike a couple of miles or drive on backcountry roads. It was important to carry the gear (camera, monitor, sound, support and lights) with us at all times since I needed to be ready to shoot anytime.

Most valued features of the ikan V5600 Deluxe Kit:

− Compact size and lightweight.
− Easy and fast installation.
− Battery and AC powered.
− Camera shoe mount support.
− Comes with ready-to-install cables.
− HDMI mini component.

The design and performance of the IKAN V5600 monitor is outstanding. Nonetheless,regarding the overview and the use of the V5600 for documentary film production in the field, there are a few elements that are worth reviewing.

1. Monitorʼs ¼ 20 Screw Mount: the first issue I had right after opening the V5600 Kit was mounting the monitor on camera shoe mount. The monitorʼs plastic body is hiding/covering the real thread where the ¼ 20 screw goes. Screwing in the shoe mount wasnʼt easy and it made the plastic squeak showing signs of weakness. Overall, this attachment system doesnʼt feel strong and it would greatly enhanced with a metal piece that holds the screw not only deep inside the monitorʼs body.

2. Monitorʼs ¼ 20 Screw Mount: Additional to the previous comment. Having ¼ 20 screw mounting holes in every side of the monitor would be really helpful.

3. Brightness/Exposure Check: IKANʼs V5600 works great to achieve critical focus, check the frame and supervise camera motion. However, it was extremely dangerous to rely in the exposure by using the monitor. The brightness of the display is not accurate with that of the camera so it is difficult to trust it. This could be fixed with a menu through which brightness/contrast/saturation can be adjusted.

4. Screen adhesive protector: fingerprints, dust, and fog are terrible enemies for a screen. It would have been really useful to have a couple of “invisible” screen protectors. Investing in a screen is as important as taking care of it. I still havenʼt found a protector of the proper size without having to invest in a bigger one (more expensive) and cutting it.

As mentioned before, Iʼm completely satisfied with the performance of the V5600 monitor and it is certain that its kit will be part of my upcoming productions. The main purpose of this feedback is to help ikan stay at the front of the market for documentary film production tools.

Learn more about the work Frederico Pardo on his website at:   http://www.federicopardo.com

HD camcorders gave us the freedom to shoot without the expense of film and development cost. The drawback was the inability to achieve shallow depth of field. With a fixed lens HD camcorder, everything is in focus down to the smallest detail. In the late 90s, filmmakers using HD video, were forced to use tricks such as lighting in layers with the subject lit the brightest.

Without these creative but limited solutions, the audience can become distracted by a pretty extra in background or billboard that is part of the set. The result: your scene loses its impact due to lack of control over the image. The advent of the DOF or 35mm adapter gave us the ability to achieve a shallow depth of field giving you more artistic control of the image. For those who don’t know, the device works like a telecine using the macro focus of the camcorder to capture the image on a ground glass screen. The glass is spun using a miniature motor.

The shear weight of these devices and their components can be in excess of 20 pounds. This paved the way for an entire industry of camera support systems to redistribute the weight of the device, the lens, the follow focus and the HD monitor, which is critical to ensure clear, sharp focus.

Enter the 1080P Full Frame DSLR The Canon 5D and now the 7D have only been on the scene for a short while, and now video shooters everywhere are ditching their EX1s, HVX200s and even their XHA1s for the affordable full frame DSLR. Indeed, many fortunes have been made by those manufacturers of the 35mm adapter, but I’m afraid it’s all over now. Prices are falling, and it’s no secret why.

You can buy a Sony EX1 for $6.5k with a Letus Ultimate for $4k, totaling more than $10k without support railings, lenses or an HD monitor. Those accessories could easily jack up the price another $10k depending what you get. However, I can buy a 5D Mark II and a good lens with an ikan monitor for under $5k. If you’re still convinced you have to have a traditional video camera with a 35mm adapter, but your on a budget, you can buy the Panasonic DVX100 for $2.7k and get a Redrock Micro M2 Encore DOP Adapter and support system for $2k bringing you in just under $5k with no lens or monitor.

On the other hand, you can go to B&H and get a 7D with a lens for under $2k. That leaves some extra cash to get the V5600 from ikan for $630, and then you’re ready to shoot for under $3k. Final Analysis The Canon 5D Mark II ushered in a new era of video production that has left Sony, Panasonic, JVC and even Canon’s Video division standing on the sidelines to make way for the multitudes who are literally grabbing them from stores before they can be shelved.

In the meantime, the DOF Adapters are not moving, and the prices are dropping. Some are 50% cheaper then they were just six months ago. How low will the prices go in the coming months? Who knows. One thing is certain; the full frame DSLR revolution has rendered the 35mm adapter irrelevant and obsolete. The question isn’t, “Will they stop manufacturing,” but “When.”

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These are some images of the V5600 as it was used in a demonstration by Sara Francis and Karl Arndt of Photo Mirage, www.photomirage.com