ikan News Blog

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

Recently, my production company took on a small production for a local school district and when it was all said and done, the DP and I opted to use the Canon 5D Mark 2 for image capture.  The DP brought along his set of Mamiya primes (with adaptor) as well as three of his own Canon zooms.

In addition, we used sync sound with a DVX100B for audio capture, running two channels of audio (a shotgun mic on a boom, as well as a Sennheiser wireless lav).  We slated each take to allow for proper sync and kept the 5D’s audio running to help.  The shot list consisted of primarily talking heads, with minimal lighting (usually just a 1K w/ softbox for Key and a 650 as an edge light – fill was handled with a bounce card or through the diffused natural light that was present), as well as b-roll in a variety of natural settings, such as classrooms, hallways and other academic settings.

I was immediately taken with the images… being a RED One house, we had been exposed to breathtaking imagery thus far, but from a sub-$5,000 camera, it was just beautiful.  Of course, I’ve been around the 5D and have been aware of the numerous pieces shot with it since before it came out, but for us, it was a new experience.

Aside from the images, the versatility was a big plus as well.  Shooting with a wide variety of lenses, as well as a small camera body – even with baseplate, rails and follow-focus – is a dream.  No more back-breaking 40 pound cine rigs… just a quick moving, lightweight camera package.  It was perfect for the job in that regard.

Price-point is always nice, however, by the time you tabulate the Zacuto support, the Manfrotto sticks and head, the Mamiya lenses and any monitoring solutions, plus the Canon stuff as well, you’re back up at close to $10,000 again.

As total solutions go, it did lack in some instances… audio, of course, remains a huge detractor for this camera.  I know the issue has been beaten to death on the forums, so I won’t go into details, but that continues to be a hindrance in the field.  And the solutions, such as Beachtek’s 5D adaptor or going with sync sound can limit a small crew and/or provide less than desirable results.

All in all, though it was an interesting experience and I look forward to using the same rig on additional shoots in the future.

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.”

The big-budget studio system gets something right.  The new “Star Trek” was everything it needed to be and director JJ Abrams (who is a Canon 5D Mark 2 owner/user) along with cast Chris Pine, Zachary Quinto and Leonard Nimoy brought a rousing new chapter into the Star Trek universe this past summer, simultaneously a credible sequel and a brain-teasing reboot rolled into one.

It was one of my Top 3 films of 2009 (the other two being ‘The Hangover’ and ‘District 9′) and is absolutely worth checking out when it comes out on DVD and Blu-Ray today.  So, make sure you check this one out… there are very few times when you’ll catch me cheering on the studio system, but in this case, I think they nailed it.

Screenwriters Orci & Kurtzman deftly mix classic Star Trek lore with a new, fresh feel to create a crowd-pleaser that was one of the pleasant surprises of the summer season.  Chris Pine, Zachary Quinto, Zoe Saldana, Simon Pegg, John Cho, Karl Urban and Anton Yelchin all nailed their well-known roles without being distracted by the long history of the previous actors to inhabit the roles.  An especially effective Bruce Greenwood provided the perfect finishing touch to the crew of the Enterprise and Eric Bana was passable as their first major villain.

Disclaimer: I was and am, in no way, shape or form, a “fanboy” for Star Trek.  I’ve always been more of a Star Wars geek. 

The following is a report from Grady Sellards who presented for ikan at Collision Conference this weekend:

We did get several plugs during the demonstrations, particularly from the Sammy’s rental group who were using the camera for workflow demonstrations (pictured below).  

I believe the hit of the show was the Cheese Block Jr.  I think your going to get several large piece orders for that and the arms.  

The light got a lot of attention as well, and many direct comparisons to Light Panel’s offerings were made, with ikan coming out ahead, both in LUX rating and coverage.

Brian of Redrock, was extremely helpful, and upgraded the ikan rig, leaving me with all the spare parts.  

Most people felt that each monitor line had it’s place, and the 5600 certainly dominated the integration with the camera directly due to size and weight.