Ever Have the feeling this feeling?

jambredz

jambredz

Veteran
tried to change the title. but created duplicate threadby accident. Mods pls delete

Ever feel like all your gear is getting in the way sometimes? I have a 7d , cpm rig, zacuto evf, manhattan 7 inch monitor and other knick knacks. But i remember when i had none of that stuff and just had my 7d and 2 lenses. Tamron 17-50 and supertakumar 50 f1.4. I was looking on some footage from a short film i Dped when i just had those things (and a pvc shouldermount i built)...and i was like "damn....i was craning my neck...was pulling focus off the back of the LCD in sunlight a f1.4 (yeh i was shallow DOF crazy at that time) and I managed to do very well somehow. Sometimes i would just put the camera strap around my neck and hold it out tight and get very steady shots also. Now with all this gear i'm fiddling with this...and fiddling with that and while it IS helpful after all the fiddling, sometimes its just like ugh...

(a reason i'm yet to get a follow focus and mattebox...just 2 much extra things to deal with...well for me)
 
Last edited:
It can definitely get in the way. You also have to note that on big budget films, there is an AC and a second AC to take the camera off the Operator and deal with all that stuff - they deal with jammed film cameras, loose cables, parts and pieces acting up - while you rest for a minute. "Gear getting in the way" happens at all levels...unless you aren't really using any, I guess.

I have noticed this, too, as a DP who prefers to operate, that all the bits and bobs can end up slowing you down. I spent most of the summer researching pieces of kit and building a whole new frankenrig from the rails up. I am EXTREMELY pleased with the result, but it still needs modifying because there are so many cables (HDMI cables just suck so much) and parts and pieces, any of which can snag or break or cause something to go wrong. I spend almost every day refining and tuning to cut down on weight, remove unnecessary pieces, and wrangle cable in a more creative and space-saving manner.

I am shooting with the F3 on my rig for an upcoming short film next weekend, and while I love what the rig brings to the table with everything hooked up to the camera, it's just so cumbersome, and one day of principal for us is going to have to be absolutely barebones-style shooting - no matte box, no 7" monitor, etc. - so it will be unacceptable for anything to get in the way that day.
 
Last edited:
YES.

I've been experimenting with monopods and steadicams, and I recently reviewed some footage from my first shots with the camera using my hands and the neck strap, and honestly thinking the old stuff looked pretty darned good.
 
jambredz said:
tried to change the title. but created duplicate threadby accident. Mods pls delete

Ever feel like all your gear is getting in the way sometimes? I have a 7d , cpm rig, zacuto evf, manhattan 7 inch monitor and other knick knacks. But i remember when i had none of that stuff and just had my 7d and 2 lenses. Tamron 17-50 and supertakumar 50 f1.4. I was looking on some footage from a short film i Dped when i just had those things (and a pvc shouldermount i built)...and i was like "damn....i was craning my neck...was pulling focus off the back of the LCD in sunlight a f1.4 (yeh i was shallow DOF crazy at that time) and I managed to do very well somehow. Sometimes i would just put the camera strap around my neck and hold it out tight and get very steady shots also. Now with all this gear i'm fiddling with this...and fiddling with that and while it IS helpful after all the fiddling, sometimes its just like ugh...

(a reason i'm yet to get a follow focus and mattebox...just 2 much extra things to deal with...well for me)
Click to expand...

Absolutely. 100%. Completely agree.

I started shooting documentary pieces about six years ago. (I did study film and photography in school, but that's been many, many years ago.) When I first started, all I had was my DVX-100, a good microphone, a quality tripod and a few filters. I used a reflector when I needed it, and borrowed or rented a light or three now and then.

On my last shoot (with the FS-100), I checked three large pieces of luggage, and my assistant and I both had two carry-ons. And the more gear I carry, the less I really ENJOY the work. Why? Because I'm constantly thinking about gear, and not focusing on the art of shooting and capturing the creative opportunities around me. And there have been times where I've missed shots with a large-sensor camera that I otherwise would not have missed. When I got back to the edit suite and looked at the footage cut with footage shot on other cameras (HVX-200 and Varicam), I had a realization. Or at least I finally came to terms with what I had known for a while…

More isn't always better. Bigger isn't always better. And I've realized that, for me to get the creative satisfaction I want out of the work I do, I needed to simplify things.

So gone is the FS-100. Gone is the matte box. Gone will be the follow focus, many of the lenses and bits and pieces needed to make the kit "workable." Sure, I'll still have a DSLR, for the shots that require that aesthetic. But at my core, I'm a documentarian, and a camcorder guy. I don't want my kit to get in the way of getting what I need on a shoot.

Simplicity is a beautiful thing. It frees one to focus on the moment, not the gear.
 
My brother in law got married last weekend. Of course he asked me if I can shoot a little.

"A little", yeah right.

I never done a weeding before and I know why - but I found no excuse to skip this one.
I brought my FS100 on a massive shoulder rig (FF, monitor, v-mount batteries, mate box - all the bells and whistles) , my 30 lbs tripod (duh)and a reflector.

Long story short, I ended up shooting with the bare FS100 in my hands.

And yes, at least 50% of the footy is out of focus (still made a decent 30 min flick though).

Was the gear in my way? Definitely. But what is the alternative?

I do commercials and narrative work, where cinematic look and DOF is a need - hence a big sensor.
My sets are usually super controlled environments with AC1, AC2, DIT andwhatnnot.
I have no "gear-in-the-way" problem there (and we bring a truckload of stuff in).

But on small fast gigs, on man band shots or even with one assistant, dealing with all that stuff slows you down and derails your focus.

So, getting a 2/3 chip shoulder camera for those situations and forget cinematic?
I don´t know if clients accept that look, after seeing so much DSLR and Red footy.

I have no idea. Maybe I leave run & gun to the run & gunners and concentrate on jobs with controlled environment.
No more one man shows, no more stealing shots in stealth camera style - less frustration I guess.

Frank
 
Postmaster said:
My brother in law got married last weekend. Of course he asked me if I can shoot a little.

"A little", yeah right.

I never done a weeding before and I know why - but I found no excuse to skip this one.
I brought my FS100 on a massive shoulder rig (FF, monitor, v-mount batteries, mate box - all the bells and whistles) , my 30 lbs tripod (duh)and a reflector.

Long story short, I ended up shooting with the bare FS100 in my hands.

And yes, at least 50% of the footy is out of focus (still made a decent 30 min flick though).

Was the gear in my way? Definitely. But what is the alternative?

I do commercials and narrative work, where cinematic look and DOF is a need - hence a big sensor.
My sets are usually super controlled environments with AC1, AC2, DIT andwhatnnot.
I have no "gear-in-the-way" problem there (and we bring a truckload of stuff in).

But on small fast gigs, on man band shots or even with one assistant, dealing with all that stuff slows you down and derails your focus.

So, getting a 2/3 chip shoulder camera for those situations and forget cinematic?
I don´t know if clients accept that look, after seeing so much DSLR and Red footy.

I have no idea. Maybe I leave run & gun to the run & gunners and concentrate on jobs with controlled environment.
No more one man shows, no more stealing shots in stealth camera style - less frustration I guess.

Frank
Click to expand...

Completely agree. The gift and curse of these large sensor cameras is the out of focus shots. What I have learned is having a wide lens such as a tokina 11-16mm or even a kit lens can really keep things in focus when you do not want DOF shots. On another note I think for run and gun situations a more traditional video camera is the proper tool for the job.
 
Just use whatever you need for a particular shoot or shot. I shot a hip hop music video recently and used the following set ups:

Studio Environment - DSLR on rails with mattebox with flags (lots of lighting) and a monitor.
Walking shots - DSLR screwed onto a boom pole (Bare 550D with a 28mm lens and hood)
External shots - DSLR on rails with battery grip, LCDVF, shoulder pad, grips but no mattebox (overcast day and lots of lens switching)
Sneaky shots - DSLR with battery grip in my hands

At no point did I feel kit was getting in my way because I used different configurations for different situations. From completely bare (shooting where we weren't meant to) to a full size rig with monitor etc in the studio. A big selling point of DSLRs is how modular they are. The stuff in the studio was obviously the best footage technically but the stuff shot just in my hands was more interesting because of the locations we managed to use and how natural it looked.

Shooting with just a DSLR and LCDVF you can get great footage that is quite steady and OK focus pulls, but then other times you need the full size rig with mattebox, mixer etc. I think monitors are a complete hindrance for DSLRs. The LCD screens on Canons are so crisp there really isn't any need.

I think a lot of people build up huge , heavy rigs to look more 'pro'. I used to do that when I started out but realised that there isn't any need and it hinders the production massively as you do end up struggling to cope with all the kit. Obviously for high level productions rigs do need to be large to achieve technically perfect footage however they have a DoP, 1st AC, 2nd AC and also controlled environments which is the main thing. A big rig in a studio is no problem. A big rig on a street with members of the public is when stress levels rise!
 
I'm actually really glad you started this thread, Jambredz.

A few months ago, I shot a short with all the bells and whistles. We had control over locations and the man-power and everything, but what comes with the territory - weight, size, complexity, power draw, unwieldiness of the two cameras we had rigged - can really slow you down even when you have control over the environment.

So, I started anew from the ground up with a completely 100% modular design that I really like. It's a conglomerate of probably 20 different manufacturers. In it's biggest, most complex, studio setup, with an F3, it's about 26 pounds. But in a few minutes, I can slim that down to less than 10 pounds and get it so flush on my shoulder that it's like there's nothing there at all - and that still includes an EVF and a follow focus. Take the camera off the rails, mount the EVF arm on the hotshoe and the follow focus on Jag35's D|Mount, and you can hold the body in one hand, the follow focus wheel in the other, and keep your eye to the EVF, making a third point of contact. Slap on a wide lens and you can nail focus and have a shaky but stabilized ENG image with - depending on the lens - more low-light flexibility than the limitations of the ancient (but still lovely) HVX200.

The big rigs do look awesome - no lie, they can be used to settle an argument before it even starts - but they aren't always practical. I certainly learned that the hard way :)
 
Good to see peeps sharing this view. I def know there's a place for the Big ass rigs but as you guys agree, thats more for when you have a decent amount of people backing you up. Hopefully some people just starting out that dont have alot of stuff can read this, and not try to kill themselves trying to get a "wicked" rig. love Zacuto evf and cpm rig but the amount of times the blasted eyecup has dropped off , leaving me wasting time looking for it...or having to adjust this monitor arm in in different angles just to get the shot (that im already missing) or that cable....i really just feel like throwing the zfinder on the back of the LCD and rocking out (or using my dvx :) ). I mean to looks sexy as hell...but truly its not about all that stuff its about honing your skills, using your creativity, and using what you have to the best of your ability.
 
Last edited:
lol..Jordan...you have it down!
Jordan Scott Price said:
I'm actually really glad you started this thread, Jambredz.

A few months ago, I shot a short with all the bells and whistles. We had control over locations and the man-power and everything, but what comes with the territory - weight, size, complexity, power draw, unwieldiness of the two cameras we had rigged - can really slow you down even when you have control over the environment.

So, I started anew from the ground up with a completely 100% modular design that I really like. It's a conglomerate of probably 20 different manufacturers. In it's biggest, most complex, studio setup, with an F3, it's about 26 pounds. But in a few minutes, I can slim that down to less than 10 pounds and get it so flush on my shoulder that it's like there's nothing there at all - and that still includes an EVF and a follow focus. Take the camera off the rails, mount the EVF arm on the hotshoe and the follow focus on Jag35's D|Mount, and you can hold the body in one hand, the follow focus wheel in the other, and keep your eye to the EVF, making a third point of contact. Slap on a wide lens and you can nail focus and have a shaky but stabilized ENG image with - depending on the lens - more low-light flexibility than the limitations of the ancient (but still lovely) HVX200.

The big rigs do look awesome - no lie, they can be used to settle an argument before it even starts - but they aren't always practical. I certainly learned that the hard way :)
Click to expand...
 
The beauty of small cameras is that they are in fact small, so every thing else that goes with them can be small. Most of my kit, tripods etc is from the days of big shoulder cams and 16mm, and while decent, look ridiculous with my current tiny cameras. I don't feel the need to build the camers up bigger, A mono pod or The Pod beanbag mount are ideal for hand held. As I get older the one man band gets even older, especially having to make six trips from the car to get everything in. I'm currently looking at downsizing everything, tripods, lighting, so that I can fit everything I need for a 2 camera interview shoot into a rolling hockey bag.
 
i agree. when i started my very first videos i was running around with little home camcorders making legitimate looking shots and that was my main goal for motocross vids. now it's all about the money and equip i need for a dvx100b and it's killer on my creativity sometimes. (which is where some mary jane can help with.) but it's as they say. the more restricted one's mind is, the more likely it is to adapt and rebel. i think that's why that weird phenomena comes about.
 
I think the one piece of gear that is most over-rated and possibly the most expensive piece of gear that most buyers will never use is a follow focus.

They are a pain in the butt to set up, adding lots of time to lens changes. And most people buy them not realising that it is a piece of equipment built to be used by a dedicated operator, a person who uses precise measurements, and has many rehearsals working with a director and actors who have every more blocked out. It is not simply something you bolt to the side o f your rig and instantly achieve perfect focus on all your moving DSLR shots.

Most people buy one because they get told by other people (some on this site...) that it is absolutely essential to use a Follow Focus for HDSLR work - but that is complete codswallop! Same goes for a few other pieces of kit as well.
 
I'm finding that cinematography is starting to get in the way of directing.

Its a strange feeling ... but I've almost pushed it as far as I want to go and I'm ready to hand the camera off to someone else
 
deltoidjohn said:
I think the one piece of gear that is most over-rated and possibly the most expensive piece of gear that most buyers will never use is a follow focus.

They are a pain in the butt to set up, adding lots of time to lens changes. And most people buy them not realising that it is a piece of equipment built to be used by a dedicated operator, a person who uses precise measurements, and has many rehearsals working with a director and actors who have every more blocked out. It is not simply something you bolt to the side o f your rig and instantly achieve perfect focus on all your moving DSLR shots.

Most people buy one because they get told by other people (some on this site...) that it is absolutely essential to use a Follow Focus for HDSLR work - but that is complete codswallop! Same goes for a few other pieces of kit as well.
Click to expand...

I have to disagree.

They only take a long time to set up if you don't have the follow focus positioned properly on your rails or if all your lens gears are different diameters.
They are far more ergonomic for video with such a small camera form like a DSLR.
You're not going to accidentally put a finger in front of the lens when operating a follow focus.
They are one of the lowest profile pieces of kit on your rig, especially compared to a matte box, external recorder, huge battery, mic, LED, monitors, etc.
They can be connected to whips or cranks, which enable an AC to hit marks or pull focus from his own monitor.
They are definitely not the most expensive, even an Arri studio follow focus, when compared to a top-of-the-line field monitor, matte box, or external recorder.
They allow you to set marks if you are able to take advantage of them; if you can't take advantage of that, it still allows you to pull focus without hindering your image control.

I think they are useful tools like any other, but what is "essential" is dictated by what the shooter needs. I just wouldn't tell anyone they're overrated or useless.
 
jambredz said:
tried to change the title. but created duplicate threadby accident. Mods pls delete

Ever feel like all your gear is getting in the way sometimes? I have a 7d , cpm rig, zacuto evf, manhattan 7 inch monitor and other knick knacks. But i remember when i had none of that stuff and just had my 7d and 2 lenses. Tamron 17-50 and supertakumar 50 f1.4. I was looking on some footage from a short film i Dped when i just had those things (and a pvc shouldermount i built)...and i was like "damn....i was craning my neck...was pulling focus off the back of the LCD in sunlight a f1.4 (yeh i was shallow DOF crazy at that time) and I managed to do very well somehow. Sometimes i would just put the camera strap around my neck and hold it out tight and get very steady shots also. Now with all this gear i'm fiddling with this...and fiddling with that and while it IS helpful after all the fiddling, sometimes its just like ugh...

(a reason i'm yet to get a follow focus and mattebox...just 2 much extra things to deal with...well for me)
Click to expand...

100% agreed
 
I have seen many nice big rig from members here.
Just a question, do you guys transport the whole rig to the location for shoot or you do break it down and assemble everything on location?
I would think it's not safe to travel with the whole kit assembled but then it's a real chore to break it down if you need to move around a few locations in a day.
 
You must log in or register to reply here.
Back
Top