barefoot_dp

They knew it existed... but they also knew that their crazed fan base would buy whatever they release.

Red are kind of like Jeep. They beat everyone else with their original products - one of the first of it's kind - then cashed in on their reputation and started selling overpriced, unreliable products, but with very focused marketing. 

They knew it existed... but they also knew that their crazed fan base would buy whatever they release.

Red are kind of like Jeep. They beat everyone else with their original products - one of the first of it's kind - then cashed in on their reputation and started selling overpriced, unreliable products, but with very focused marketing. 

Keep in mind you're using a 3rd party lens and adapter. That always complicates things.
 

Ah yes, the bustling metropolis of Wagga Wagga.

As an interesting comparison to the above photo, perhaps you could share one taken during the lockdown too. 🤣

I'm still waiting for the (fairly realistic) camera I've wanted for the past 2 years:
4K 10bit 422 Intra (ie prores or similar)
S35
120fps (in 4K)
2x XLR and proper manual controls
Internal ND's
V-lock battery mount (integrated, not some aftermarket contraption requiring rails and cables going everywhere)

URSA Mini Pro G2 is still the only one that meets this criteria, but with my income totally wiped out for the next 6 months at least, it is totally off the table now.

ZCam is the next closest offering, but seems to be missing proper audio.
 

I'm not on lockdown and even If I am, I live in a rural area so will still have plenty of freedom. But I have lost about $20K of work already from events being cancelled. These are the returning annual gigs that I depend on each year, so losing them is a big hit.

My plan is to teach myself everything I can about live streaming so I can start to market myself as someone who can solve the problem that a lot of events are currently experiencing.

I like how you conveniently left out the part where I said it was my experience working as an AC, so that you can accuse me of making generalisations. Perhaps what we can all learn from this is that there are big differences across different styles and markets. And that some people don't like their world views being challenged.

I also really like that you accuse Australians of having no sense of humour, (sorry, the precise quote was "humor") and then go off like a firecracker when I made a joke.

And, as I noted, showing me lots of photos of guys not shooting with easyrigs is not exactly definitive proof of anything. The internet is littered with photos of all sorts of things. I could probably find a collection of photographs of Ukrainian teenagers dressed as pirates, but I'm sure you would not take that as proof that pirate attire is the dominant fashion trend amongst Ukranian teenagers.
 

Yeah, I definitely reckon any delusional dreams I had before of buying a FS7/F5 (or even FS5/FS700) are gone, I might even skip for another year the buying of a Panasonic G85! ha

Unless... somehow I defy all odds and have a great year! Then I can snap up a fire sale bargain??

Well, over the past week things have changed a lot, with two months of confirmed jobs cancelled and no idea what will happen for the rest of the year.

Look like my new camera owning plans for 2020 are to keep shooting on the FS700 + Shogun Inferno for another year.

Well, over the past week things have changed a lot, with two months of confirmed jobs cancelled and no idea what will happen for the rest of the year.

Look like my new camera owning plans for 2020 are to keep shooting on the FS700 + Shogun Inferno for another year.

Do you think there is any chance 4K60 will be with no crop? 
Cause I couldn’t care less about 8K, much more interested in 4k60p or better 4K120p.
8K will be nice to have in 3 years, I which point I’ll have another camera anyway. 

Well, of course I don't know what humor is. I'm Australian and we only have humour. Although I was once involved in a humerus situation - luckily my free healthcare took care or it though!

I do know what Irony is though. It's something along the lines of calling someone out for not naming a specific Netflix production, while claiming you've answered the question adequately by mentioning "productions from Netflix" 😂

I'm still waiting for you to answer my question, which I've asked twice, about what cameras and types of sets you're witnessing in New York. All you've done is post a whole lot of images you found on the web of people not in New York not using easy rigs. It's not exactly hard for me to do the same and post pictures of people who are using them.

As I already said, my observations are from a 1AC perspective shooting commercials and some drama in Australia. For more context, these are not Hollywood shoots. These are ads, content, short films and sometimes a series. These are sets where the DP and the operator are the same person. They're usually 'modern' sets in the sense that most of the crew are under 40 and have only ever worked with digital. They're also sets where every minute counts (usually as a result of ever decreasing budgets) and so the director often opts for a handheld aesthetic because it is currently popular and allows more shots per day with fewer crew. And in those situations, Easyrig is the tool of choice most of the time.
 
Yep, that's pretty much my experience. Careful what you say though, you might get accused of spreading horseshit and misinformation by someone who refuses to back up their own comments!

If you haven't already, I'd offer a nudge towards investing some of that research time into NDI.
Although its core use is to simplify video connections into a hardware or software switcher via a LAN (there are hardware adapters and apps to bring in regular cameras, PTZ cameras, phones and computers) with low latency, it also means that the sources and the switcher can be in entirely different locations using an NDI cloud service.
As PTZ is part of the protocol this means you can do full remote production without requiring operators at the event.
A lot of information is generally skewed towards Newtek switchers (as they invented the protocol) but there are much more affordable software options such as vMix that integrate it.
https://www.ndi.cloud/secure.html
https://www.vmix.com/ndi/
 
 

Lol, you seriously believe this?  The only country? You americans trully live in another world.
Your president just had dinner with an infected minister from Brazil. Good luck.

I work (and have worked) in multiple rental houses that have rented to all types of productions. Easyrigs get rented a lot, but mostly to commercials and branded content. They work great for getting that spontaneous, free-floating handheld look, shot-from-the-hip style that's prevalent now in ads, both on TV and stuff that get's aired on Youtube. It's also great for documentary work, since it allows to hold the camera for much longer periods of time. 20, 30, 40 minute handheld takes become much easier with an Easyrig.
For actual dramatic, narrative material, easyrigs are used much less. Dramatic cinematography relies on the ability to control your frame and land precisely on marks. This is really hard to do with an Easyrig because it tends to swing the camera when you turn. Also, extended handheld tracking shots are impossible because when you walk with an Easyrig, the motion from your hips gets transmitted through the arm and is visible in the footage. There is a use for the Easyrig for helping with low-angle handheld shots with really heavy rigs (such as Alexa 65, or Venice with certain anamorphic lenses), but the standard in handheld cinematography is a well-balanced camera on the shoulder and a pair of strong hands either holding grips, or the mattebox.

I'm not saying that.  My experience is with commercials, where most dp's I worked with had their own easyrig, monitor and filters. Everything else they rent on case by case basis. No, they're not always with the easyrig. No even close. But some jobs, when handheld is the aesthetic, they use their own thing. That's it. And I said young dp's in my first post.

Can you buy faster lenses?
In general I like the S1H but I haven't tried the autofocus. Low light is excellent, maybe not best of the best but very very good.

It's common to see young dp's with their own easyrig and monitor, as an easy rig is something you use all day and in terms of hygiene, i've heard that argument multiple times. As a monitor, it's about a tool that you use on several jobs, where cameras and lenses change but the tool where you're looking it's always the same, so it helps with consistency on judging an image, etc.

I didn't say I'm seeing more of them - every shoot has a tripod there, even if it's just for resting the camera on. But in terms of what they're actually using on set, I'm seeing a lot more DP's/Directors that prefer to shoot the currently in-vogue handheld look, as opposed to the sticks & dolly style. And when they're shooting that style they use an Easyrig 100% of the time.

This is in Australia, most often shooting on Alexa mini, occasionally a F55/Red. Haven't had the fortune to work on an LF or Venice shoot yet but I imagine they'd be used in exactly the same way. What types of shoots/cams are you observing in New York?

What sort of cams/shoots are you observing? You don't see them often in broadcast TV or sit-coms which are often shot multi-cam as-live, but on most other stuff they're pretty common. When shooting drama or commercials, I'd say most guys are using an easyrig more than a tripod or dolly these days, given the handheld look is very in vogue (this is coming from a 1st AC perspective). I worked with a lot of DP's who only own 2 bits of gear - an easyrig, and a SmallHD monitor. Everything else is rented but those two are the constants that they use on every shoot.

Relating it to the thread at large, I think the Cx00 series are about the heaviest cams that aren't regularly used with an easyrig or shoulder-mount. Though the C300mkII was horrendous to hand-hold as the weight was high up and far forward. Hopefully that's something they fix on all the cameras moving forward.

It's looking like a bit of my work this year is going to be effected by Coronavirus.

One of my clients is an international sporting tour who normally give me about 2 months work a year (including travel to the events). They might be cancelling several of their competitions due to Coronavirus.
 
I also know a lot of guys & girls who are working on the Olympics. If they get cancelled they'll be missing out on a huge chuck of work/income for the year.

It's looking like a bit of my work this year is going to be effected by Coronavirus.

One of my clients is an international sporting tour who normally give me about 2 months work a year (including travel to the events). They might be cancelling several of their competitions due to Coronavirus.
 
I also know a lot of guys & girls who are working on the Olympics. If they get cancelled they'll be missing out on a huge chuck of work/income for the year.

Sticks don't give you the freedom of movement. It's a totally different look and feel.
Shoulder mount doesn't give you enough height variation.
Steadycam is for specific shots and not good for run-n-gun.
There's a lot more than "some (very specific)" situations where they work. They're usually the go-to default tool for DP's getting the handheld look. I don't think I've done a single shoot on Arri or Red where the DP didn't use an Easyrig. You might not be a fan of them, and that's ok, but that doesn't mean that they aren't one of the most widely used tools on film sets worldwide.