 What is up? Welcome to the Crimson Engine. I am here today with cinematographer Ian Dooley. We are going to do a little bit of a breakdown of three ways that you can focus your digital cinema camera. The first way is going to be a dedicated focus puller and a follow focus. Ian is going to operate. I'm going to pull focus on the attached follow focus to the 15 millimeter rails at the front of the camera. The second way is going to be Canon's inbuilt Wi-Fi and an iPad to use touch focus to focus on the individual objects. The last way is going to be a wireless follow focus. Ian has the camera shoulder mounted because it's a heavier rig and he needs to have both hands on the mounts. We've attached the wireless follow focus on the off side on the right side of the camera. We have a seven inch TV logic monitor attached with a shape arm, the new shape arm which I'll talk about later, to the right side of the camera. I as the focus puller can stand behind him and get access to the wheel without disrupting his balance. I pull focus here and back across to the chips. If Ian were to start at the back of the studio and walk forward, I just have to slowly keep the shot in focus. That's the most traditional basic way of doing focus using a two person camera crew, an operator and a focus puller. You do need to have a second screen off the side of the camera so that the focus puller can see what they're pulling focus on. The second way we're going to try is activating the C200's Wi-Fi network, connecting to it with my phone and then seeing if I can accurately push tap focus and track focus through that. After about 10 or 15 minutes of setting this up, we have the focus working on the autofocus lens over the iPad and I'm able to tap between different objects to focus on them. And as Ian goes forward, we're able to keep that object sharp. It's only about two or three frames a second on the iPad. So if Ian switches over to the camera cage and I click on it, I don't get the image until maybe a second after the camera rests on it. So if you're shifting focus between subjects, it's not the best solution. But now if I spot Ian and he tracks backwards, you're going to see that he is able to stay sharp on the color chart pretty consistently because the Canon's two-pixel autofocus is tracking that bunch of things. You can also do it with faces. This is a great solution for some things. If you were shooting a two-person dialogue and you wanted to choose and you had a master with two people in it, and you wanted to switch between the two people, this could probably work. But my downside of it is that it takes so long to set up and it is such a low frame rate that you can't use it consistently. So the third solution we're going to look at is using a remote follow focus off the camera or off a remote monitor and basically get the best of both worlds. Here's a remote follow focus. So I'm not touching the camera and kind of like messing with Ian's balance, but I'm not relying on Wi-Fi. I'm not using video remote video. I'm still going off the video coming out of the back of the camera. So I'm still sort of shadowing the operator. Looking at my big, clear, TV logic, 7-inch monitor that's being updated in real time, I'm able to pull focus as things go with this nice big wheel. So if we do that a similar shot as before, Ian walks forward. Oh, wrong way. And essentially stay shadowing the camera operator while pulling focus without interfering with his balance, without interfering with his his operation. Canon has a great thing called focus assist, but you can only get it on their autofocus lenses or Canon specific C&E cinema primes. They are the only primes that communicate with the Canon cinema range. You do get a thing called focus assist. So then it's a lot easier to pull focus and that's how we did it on Noir. But for my Rokonon City Prime, it doesn't have any lens communication. So I have to just basically either use focus peaking or just get better with the lens. So this is the shape arm that allows you to mount such a big monitor in such a good position. It is a quick release so I can take the monitor off to show you better how it works. Basically what it does is instead of a friction arm, you just get one button to push to manipulate how the handle works. It also has this pretty cool telescoping feature where you can extend the handle here, flip this up to get into kind of all different positions on the camera. I use this a lot when I shoot my YouTube videos. I basically telescope it out to the front and then have it underneath the view so I'm able to see what I'm shooting as I'm shooting it. That's a little rundown on three different ways you can use follow focus, your iPad or a remote follow focus to get focus while not interfering with the camera's operation that isn't autofocus. Thank you very much for helping out today Ian. Check out his Instagram and YouTube in the links in the description. I'll also put what all these items are including the shape handle in the description as well. Leave your questions in the comments and I will see you next time.