Silencing My Camera

[Regis27]

You could try making your own blimp:
http://www.whistlerweddingphotos.com/blimp.html

or what about using one of those waterproof cases for diving and putting foam inside?

 

[Digital Skunk]

Get a point and shoot camera....

Like Compuwar said. The cheapest solution you can find.

 

[wawanarchist]

Get a point and shoot camera....

Like Compuwar said. The cheapest solution you can find.

My XTi may not be a pro camera, but theres no way a POS Point and shoot can stand up to it. My director seems to be somewhat drunk right now, so I'll have to wait until tomorrow for any definitive answers, but as of now we will commence shooting with no blimp and see how it goes.

I have a feeling outdoor shots will be fine. With my 70-200 I can get far back and my shutter will be masked by normal outdoor noises. Indoors we may have to resort to shooting each scene twice, or skip stills on less important scenes. The cast gets into town on Monday night, I'll get to see the location then. Pictures and updates will follow. Filming begins tuesday (right after I buy my new iMac)

 

[wheelhot]

I have a feeling outdoor shots will be fine. With my 70-200 I can get far back and my shutter will be masked by normal outdoor noises. Indoors we may have to resort to shooting each scene twice, or skip stills on less important scenes. The cast gets into town on Monday night, I'll get to see the location then. Pictures and updates will follow. Filming begins tuesday (right after I buy my new iMac)

Great! except for the bold part, do you need the iMac urgently? Cause if not wait till after MacWorld, then you could get a discount if the update is not that mind blowing or you could get a brand new - fresh from the oven iMac

 

[wawanarchist]

Great! except for the bold part, do you need the iMac urgently? Cause if not wait till after MacWorld, then you could get a discount if the update is not that mind blowing or you could get a brand new - fresh from the oven iMac

If there is a new iMac from macworld, it should come out on tuesday, after the keynote. It is my plan to wait for the new one.

 

[arogge]

Cranston Camera Muzzle

I was somewhat doubtful about the effectiveness of the Cranston Camera Muzzle, but now I'm interested in buying at least one of them. How much reduction in sound can I expect? Is the camera LCD still usable for Live View with the plastic cover over the screen? How would I change memory cards from the back of the camera? I did a quick search, but I only got copies of old informational releases with short reviews and didn't find what I needed, like a manufacturer's Website. Are there opinions on this Camera Muzzle product from actual use? Where is the product's Website?

 

[Pikemann Urge]

Arogge, the Camera Muzzle can be ordered from at least two places. Links at the bottom of this review:

http://www.robgalbraith.com/bins/content_page.asp?cid=7-7894-8326

I find it okay. It's not magic. It muffles the sound, not deadens it. I ordered mine from Roberts as I could not find it here in Melbourne.

I have an idea about noise-free cameras that don't need blimps or mufflers. That camera does not exist. But the micro 4/3 SLRs with interchangable lenses are close to it (and you should be able to use existing lenses, such as Nikon's wonderful 105mm f/1.8, with an adapter).

 

[arogge]

http://www.robgalbraith.com/bins/content_page.asp?cid=7-7894-8326

But, how quiet is it? What does the camera sound like when using this product? How do you open the memory card compartment?

Is there some documentation other than a 3-year-old cursory review from which I can learn more about this Cranston product? The links on that R.G. page don't work. Adorama has the product, but before I go to that store, I'd really like to see a complete product description with specifications.

 

[S-Man]

I, too was thinking perhaps you could fab up your own 'blimp' out of some type of box, like tupperware, lined with HD foam (which you can get at craft/fabric stores) and you could make a tube for the lens out of PVC and put foam on the outside of that.
The XTi/400D's shutter is already pretty darn quiet, (kind of a "ss-kzz") so it shouldn't be difficult to really muffle it further. Also, I think they make a wired shutter release for them so if you use one of those, you don't have to worry about pressing the shutter button through the box.
I have an Idea in my head, but execution is a different thing...

The 70-200 2.8L IS is an awesome lens. I'm totally in love with it.
With the battery grip, you shouldn't have to change batteries all night, and if you get like an 8-gig CF card, you should be fine all night as well.

As for the "silent mode" on DSLR's, as far as I know, only the MKIII's have this feature, and it's kind of a small 'click- ta' sound. It's actually called the "Soft Feature".
Go HERE and they have sounds of a bunch of different Canon's.

Definitely keep us updated as to how this turns out.

 

[ajpl]

I realise the OP has probably done the job by now, but I'd thought I'd add some pointers for future reference as I've done a fair bit of stills work on films.

Blimps, I've never used one, as shooting during a take is something I'd have no interest in doing. Several reasons, you can get in the way or distract the actors, you may need to be where the camera is if you want to reproduce the shot accurately, you cannot direct the subject, the lighting will be set up for when the film camera is...lots of reasons. So I usually shoot after last take of any set-up. Now some 1st ADs [assistant Directors] will say there's no time to do stills between set ups, there invariably is, but you have to be able to work quickly. Very quickly. If you get this issue, it will indicate you are working with an idiot, who doesn't know the job properly and you will have to work extra hard to get your shots. Sadly these fools also usually think being a 1st AD is a way of becoming a director. The 1st AD's job is more that of a set manager/organiser/logistics, very little to do with film directing and the good ones know that. The 1st AD is your most important friend, so even if they are an idiot try not to piss them off. Though I did tell when to get stuffed once, as he was a particularly talentless numptie.
Shooting stills is a thankless task at best of times, as you are normally completely irrelevant to to the task at hand, i.e. getting the film made, but ironically are of vital importance in getting a film sold. And everyone thinks their job is the most important, when in fact all the jobs are important, even the runners'.

To do a good job , you need to take images that look like how the DoP wants the film to look [much easier with RAW] and the hard bit, to be able tell the story of a scene in single take or even better capture a defining moment/aspect of the film.
I will take actors to one side and do my own set ups if necessary or rejig the blocking of a scene to suit a stills image. A film is made up of shots that are spliced together to tell a story, you have to learn to do it in a single shot.
I suggest reading the script, thoroughly, speak to the director/producer/DoP about look/feel/intent..etc and remember the producer is the boss, not the director. I also always watch the monitor during takes so a to get a sense of how film is being shot and to see what moment if any I need to recreate for stills.

You need to be able to work very long hours, be able to get on with tired and stressed people and be very patient. Hurry up and wait is what you end up doing. Though being an actor is the most boring job, as you have to wait for the rest of us to get setup.

 

[ajpl]

Get a point and shoot camera....

Like Compuwar said. The cheapest solution you can find.

But although they may be very quiet, they usually emit red beams onto subjects when it's a bit dark! Not a good way to impress the camera crew.
Also the low light sensitivity is usually awful and the results poor at anything bar base ISOs and as film sets tend to be somewhat lacking in light unless outdoors, you will struggle.

I forgot to mention this above, a camera with very good high ISO ability is a must if shooting indoors or on set as films are lit for 1/50th and wide-ish apertures like T1.2/T2 are not unusual to be used.
BTW, a T stop is like an F stop, but accurately measured. IIRC, an F-stop is the theoretical amount and the T-stop the actual amount of light passing through the aperture. T is for transmission.