Since the earlier post detailing the HDSLR rig we were using for the ABC Family commercials, my team has done several more tv commercials and along the way we have extensively refined the kit. The last setup was highly functional but a bit of a Frankenstein monster.

The new rig is more compact, cleaner and more functional, especially from the standpoint of pulling focus — which is kind of a big deal. You can see the new rig in the slideshow below. The major changes outlined underneath.

The major changes have been:

1. Viewfactor Cage with power routing – tighter, cleaner, more compact, better balanced, and better power routing.
2. Zeiss CP2 cinema lenses instead of Zeiss ZE still photography lenses – wider focus ring travel for more precision, geared, same size diameter on all lenses for faster lens switching with Matt Box, smoother focus ring.
3. Preston wireless follow-focus instead of Bartech – smoother, more precise and more reliable motor.

All of these changes were a big step forward toward dialing-in the system. This rig is solid.

In the past year, TV commercials and short branded films have taken over the commercial side of my business (after years of advertising photography, aside from the book and exhibition work) — which is great, I love creating motion content.

I work with whichever camera is most appropriate for the job, ranging from Red MX cameras to vintage low tech options such as Super 8 film. Sometimes an HDSLR is the right combination of look, economics, weight, light sensitivity, and workflow. This has been the case on a series of commercials I’ve been shooting for ABC Family.

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