C100: If you were getting started today...

Eeeesh....the above posts remind me of the story of the bishops in medieval times arguing over how many angels can dance on the head of a pin! Forget EVERYTHING the tech geeks said above. Move into producing and then you can hire guys who are foolish enough to invest all their money into hardware that gets quickly outdated. I now do this, or at least I am a DP who is trying to make the majority of his revenue from creative perspiration rather than hardware usage, and that's why I don't care about 4K, I can hire someone who bought into it.

However, I discovered this secret quite late in life, but since the title of your thread says you're "getting started", I say take a different path and don't choose a direction where you have to buy ANY hardware (perhaps editing gear) and keep up with the Joneses the rest of your adult life, like I did. I and the above posters are addicted gear heads but I am now in my rehabilitation phase. I have shoe boxes full of production stills with equipment I once saved for, used everyday to make a living and loved, but it's all ephemeral. It's an equipment fetish. Zacuto is gear porn. And now the tech is moving too fast to figure out what to buy. 4K? Why don't you skip to 8K? Forget that, go right to holography. Nah, screw that, just buy Virtual Reality! Someday the cables from the camera will go into the viewer's scalp. Correction: there won't even be cables by then!...My point is: Forget Gear. Besides, you can't afford the best gear. You have no idea if enough clients will even HIRE you to pay for the stuff and I have seen many guys have to drop out of the biz. By buying gear you are jumping onto the hamster wheel, meaning, having to shoot so many days a week to make it pay for itself. Want that?

There are guys you can hire who have the gear and know how to use it, such as the posters above, find one in your town. You want to be the contractor, not the blue collar guy with the tools and the white van, and that is what a DP is now. Allocate your available funds for marketing and land producing jobs. Wow, it's a lot easier than buying gear and then having to be on the hamster wheel using it as many days as possible to pay for it and try to make a profit. It's very hard to make a decent living now as a "cameraman", just skip to producing, which is two levels up on the video food chain from shooting. Yes shooting is the fun, glamorous part, but producing is where the money is and you don't need any gear at all for that. Maybe a clipboard?

If you have great communication and social skills, are good at sales and networking, you don't have to become the tech dweeb/gear head the posters are. Just hire the right DP with enough room to mark up and make a profit and let them worry about the hardware. I love to shoot but now see I should have been the producer all these years, the producer WITHOUT gear. Oh well, hindsight is 20/20. Benefit from my hindsight.

Ned

P.S. I have the Sachtler 20 tripod head with carbon fiber legs, it's insured for $8K which is its replacement value. You need that for a professional level teleprompter, sports/wildlife super telephoto lens, extreme macro, shooting in wind, etc.. Do you want to sink $8K into a set of sticks? You're considering a very capital intensive endeavor, you can't go in half ass, you can't compete against the rich kids. Go into producing...that's my two cents. I wish I had a wise uncle 35 years ago...
 
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according to your list of skills that would make a good producer, I...would make a terrible producer. onward with the cam search for me!
 
nedcam said:
By buying gear you are jumping onto the hamster wheel, meaning, having to shoot so many days a week to make it pay for itself. Want that?
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Yes. I do about 100-120 shoot days a year. Renting makes no sense. I suspect I'll do more producing (which I also enjoy) when I get older and am looking for less physical work than camerawork, but for now I can just have fun shooting and still make decent money.


nedcam said:
Yes shooting is the fun, glamorous part, but producing is where the money is and you don't need any gear at all for that. Maybe a clipboard?
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If all you want is to pursue money instead of fun and passion, I'd suggest going to med school and becoming a doctor. Most people know there's more potential for money in producing than in camera-work, but they choose camerawork, or singing, or running a pet store, etc., because it's what they enjoy, not because it's what they think they can make the most money at.
 
nedcam said:
I have the Sachtler 20 tripod head with carbon fiber legs, it's insured for $8K which is its replacement value.
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Feel free to send me that $8000 head and sticks so that you don't have to continue wasting your money on insuring it. That way you can focus all your time and money on sales and networking.

Let me change that. Send it to the OP. He could use it.
 
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No need to blast nedcam for his stance on production. It's a valid opinion and a perspective that might inform the OP. Personally, I love shooting! Love it! But even if you're not producing, as a shooter you might work as a DP that is not a camera op. Or you might rent gear. There are many ways of working.

Most of us interpreted the OP inquiring about becoming an owner-op, but the points about gear acquisition and investments are still valuable things to consider.

In in a low end owner-op market, budgets would barely cover rentals. That's why you buy something you can pay back soon, to then profit off of it till the next acquisition cycle. Investment/profit/acquisition. Of course, if you can add fun and creativity there, well you gonna need a lot of that starting out! :)
 
abreu-canedo said:
No need to blast nedcam for his stance on production. It's a valid opinion and a perspective that might inform the OP.
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It's a valid point, but it doesn't help the OP. Unless you have connections or amazing skills at BS'ing, you can't just hang up a sign and start producing without some previous work to show. You can't show previous work without having done some shooting at the low/no budget scale.

You can, however, buy a bare amount of equipment that will allow you to quickly make your investment back shooting low budget corporate interviews and events. You don't need an $8000 tripod/head to shoot an interview. You also don't need a grip relocator or mattebox. Hopefully, some of the suggestions on this thread will help the OP spend just enough money to cover the minimum he needs to cover most low paying corporate shoots. Once he has a demo reel and connection, he can move over to producing if that is what he wants to do.

My primary advice is to buy used. Other than cameras, batteries, and video electronics, most used equipment can be sold for the same price it was purchased. In that way, it's almost better than a rental.
 
As usual, Ned and I seem to be on the same page. I love being a DP and or cameraman, I have been a still photographer since I was twelve years old, landed my first magazine cover, paid, when I was fourteen, but decided I couldn't make a living as a still photographer when I was seventeen. There can be more money in producing, I do both. But I work with some DPs who make a lot more money being a DP, it just depends on what level you work at and who you know. Producing is creative and fun and yes, you can forget gear but also if you DP at a certain level, you can forget about buying the gear, although you do have to know exactly what to rent and you do still have to be a gearhead, even though you may not own the gear used anymore. My wife, who used to be our CEO, is always encouraging me to produce more, but it can take years to land one quality client who will repeatedly hire you to produce projects for them.
 
There is no End Game in a career of video production, you just quit or get pushed out. There's nothing to sell at the end, no one will buy your used crap, there's no store or business you have to sell that you can profit from. No company has given you stock options to cash in like my corporate neighbors get. There is no pension. Now that I am almost at the end of the trail I can turn around and look back, reflect. Most of you guys are still on the trail, climbing, and the OP is just starting out. Basically, the whole problem with a life in production, specifically shooting, is that there is no real cash flow, unless you luck into being on a TV series or land a client who needs your services regularly. But even those will end. Those are rare, I've had a few. I had an 800 lb guerilla client I produced for, about twelve years, that was an incredible money maker and it ended suddenly. Whenever a state transitioned from paper to debit food stamp benefits (thanks Bill Clinton!) there was a Chicago marketing agency hired by the US's largest credit card company to produce the videos to train the recipients and the retailers. They couldn't produce so they hired me, I did 22 states in 16 languages over 12-14 years. I would show up for a one day easy peesey shoot in a grocery store and then my editor did everything else, so I raked in the dough. It was a fantastic run, put two kids through college, formed my nest egg. I could have plowed all the money into new gear, grown into a production company as did some of my DP competitors rather than just being a busy DP on the hamster wheel, but I knew I had better start saving and learn the investment game.

How did I luck into such a fantastic producing gig? Whoever they hired messed up, they looked around for "someone who does video", my name gets mentioned, I come in and sell them and bam, I got it. Pure luck. I suck at sales but can play the game for the length of a meeting. I am a horrible producer, every editor will tell you that, I just know so many clients now that they ask me to produce the whole thing but I get bored very quickly with administrative work, meetings, bookkeeping, shmoozing, deadline stress, collecting large bills, etc. I am at heart a shooter who loves the act of shooting. I prep and pack the night before like an excited little kid going camping. I don't care what I shoot, it can be dog poo on a turn table, I just love to handle the gear. It suits my personality, basically a loner who enjoys company ever now and then. A producer is different, they must have high EI and better people skills than I possess. But in sum, what I now know and it seems many of you younger folks don't get just yet, is that production is a PROJECT BUSINESS, which sucks. Figuring out what gear to buy is just a small part but basically what I mean by this being a project business rather than a cash flow biz is:

You look for the gig, do the gig, get paid for the gig, spend the money and....repeat. Forever and ever. You can not go to your mailbox and expect a sustainable revenue stream check. You will forever lurch from good times, to lean times, to almost of out business times, to a fantastically large check, to a month of no work. Forever. And that is why there's so many rich kids the last ten years or so entering the biz, they don't need to worry about cash flow. I know this from the people who sell them cameras upon their college graduation. Really. Maybe it's just my experience but when I run into people doing video for the love of it, such as stating: "If all you want is to pursue money instead of fun and passion", sounds just like a trust fund kid to me. Most of us have to make a living...Yes, 99% of us have to pursue money. At least that's what the grocery store clerk asks me for when she totals it up. Money.

You'll forever be hopping from project to project, the goal being: on some of them you make so much left over money you can put it into short term savings and long term retirement savings. But...if you have a bad gear fetish you will never save big money. No way. There's no true cash flow in production. If you don't marry someone with a steady paycheck or come from a wealthy family (many DPs do!) it is not only a tough row to hoe but at the end, and there will be an end, you won't be financially comfortable. I lucked out. I'm basically a cameraman who lands, out of pure luck, producing gigs and now that I look back I realize, although it's not as fun as shooting, I should have transitioned to producing full time many years ago and done shooting as a hobby. In a way buying gear is a diversion of funds. Even if you are now producing or being a micro production company, the diversion of funds into gear will zap your long term savings growth, especially nowadays with interest rates being low and camera models changing. We think to ourselves that if we only had X...But the clients want us for our eye, and yes, you won't make money by renting but if you're producing for non-cheap ass clients you can hire the DP (with a Non Compete Agreement signed) and let him sink his money into hardware. If only I figured that out earlier....

And here, for the very first time on this interweb thing, I will tell you children sitting around the campfire how I made $27,000 in 60 seconds (that's two 30 second phone calls). It required no gear. I produced two videos for a large state and they needed 9000 VHS dubs. All dub orders for that state had to go to a dubbing facility with a state contract owned by disabled vets, so I didn't feel bad not getting the order, I visualized guys in wheel chairs feeding dubbing machines. However, they somehow messed it up, I get a call asking if I can get 9000 dubs in a week to satisfy the contract with the state, so I make one 30 second call to my dub house asking if they can do it, then three days later I make another 30 second phone call asking if they will make the deadline. So for 60 seconds of work I marked each of the 9000 dubs up $3 so I cleared, that's CLEARED as in pure profit: $27,000, in one week from 60 seconds of work! Plus I marked up 50 UPS shipments $12 each. That was at a time when a pro camera cost $50K and believe me, I could have sunk all that money into gear, perhaps a new car, real easy but I didn't. I too come from a still background so it's ingrained to keep buying lenses, doo-dads, etc. I am lusting at a FS7 but now I use the 12 Steps to not get worked up. I will limp along with one or two C100s as long as I am the producer.

So in sum, I posted last night to forget buying gear, be a 100% producer instead and hire guys who have a gear fetish. But after I posted I walked the dogs and started thinking, if I was a young person now starting out like the OP, and was not from wealth or married into it, this project based business is something to steer clear from, period. It was a fun great way to make money but now I see too many people fighting for scraps. Yes the growth of video is like a hockey stick but unless you're in LA or NY where video production is still a respected profession, budgets tend to be smaller and there's too many people doing it. Crowd sourcing also has ruined it. Video is now seen as a commodity unfortunately. Many project oriented businesses are lucrative, for instance construction of houses is a project business but there's money at the end!

My kids are 28 & 29 and I wouldn't want them to go into video now. Boom times are over. It's chump change. There was a time that there was a great mystery as to how to make a film or video so it was a highly paid profession. No more. Sorry. All I see now are hundreds of individuals who act like small production companies, at least in Chicago, and due to this over supply they keep the prices down. As one who has to post for shooters all over the US and read the responses I can tell you there is a desperation to get into the biz, offering to do it for next to nothing or free just to "build a reel". Ugh.

And I don't want to take business advice from a 28 year old, no offense, you too are starting out and know little. You're just enthusiastic at that stage, that's all. I have to fake enthusiasm, which I'm good at. This is, bottom line, a business and if you aren't excellent at the business end you won't finish the marathon. I can see the ribbon in the near distance but there were many guys, some better than I, who fell by the wayside because they didn't know how to run production as a business. And sinking too much money into gear rather than savings is business suicide. At 28 you think you know stuff, especially if you have a big ego, but you will know more at 38, more at 48, even more at 58, all through experience. I'm 62 and have shot every week for the last 38 years. OK, I must admit some weeks were slow! But it is a business and I was taught it by being taken under the wing of an older DP who had a real prod co, with an accountant etc., so I learned how to do this as a biz, not just as a cool, self taught thing to do for a "living". For example, the other day in another thread, a wise person in his twenties suggested I could buy a used C100 with just two days work. He wrote that if I charge $1000 a day and the used C100 is around $2200 to buy, then in "just two days" it paid for itself. When I read drivel like that I can't believe what has happened to the biz. Whenever I go out with my C100 I enter it in a spreadsheet as having made $250, tops. That's because the rest of the gear package of lights, audio and vehicle are part of the equipment portion of the revenue. So $250 is generous. This poster did not take into consideration the labor, which on a $1000 day would be $500 max? And where does the money for insurance, equipment repairs, marketing, office rental, etc. get posted to? So I get advice that if I shoot with the used C100 I bought for "just two days" it has paid for itself? And this was from a guy who has a suspiciously long list of gear for his age. How much money is in his IRA? Gear is a bad habit..

All I can say is save, save, save. Learn how to invest to make it grow and equipment is not an investment, it's a depreciable asset. Ask your CPA. Sure, it's a tool you can market and need to get revenue, but ask your dad or uncle (if they have their own service business) what you should do with the left over funds. They will not say buy more equipment. Trust my advice. I don't want to get too personal but suffice it to say I and my wife come from very modest means, working class families, she's a teacher (steady paycheck!) and we now live on a golf course and have two new 2015 cars and enough dough to "retire" in two years. That's from being avid savers and learning to invest. QUIT BUYING EQUIPMENT! Of course saying this on a board of geek junkies is asking for flames but my financial assets are based on my producing and saving. Oh! One exception I will write about sometime, I shot a TV series 6 days a week for 6.5 months and they never asked for a discount, full rate! But that's an exception.

Final summation: I love shooting, but now hate what has happened to the biz.

Well, my car's done with the oil change and rotation, got to go.

Good luck,

Ned

P.S. I don't want any business advice from anyone under 55! Thanks.

P.S.S. Print out my post, fold it up, put it in your sock drawer, take it out in 30+ years, and you'll see I was right.

P.S.S.S. That was my longest post ever, so I will save for another time how I got the $8000 Sachtler by trading a half day's shooting for it.

P.S.S.S.S. Let's say you're good, technical, creative and have the right gear. Start learning the biz aspect. Lurk and then be active on Creative Cow's Business & Marketing forum. Be respectful of your elders and don't think that at 28 you know everything...

P.S.S.S.S.S. Read the book that helped me tremendously in 1996: The Millionaire Next Door by Thomas Stanley. Save, save, save. And learn how to invest.
 
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Ned makes some excellent points, and if you plan on making a career out of this, a lot of it is worth following. Some perspective is needed here, though. If you're hiring someone who already has the gear you need, that guy is gonna typically charge you more for the usage of his gear. If you already have the gear, you can not only hire the guy at a cheaper rate, but you have the gear to play with on your own. Example: I recently hired a DP to help me shoot a project I was working on. He offered to bring along and use his Black Magic camera for an extra 100 bucks a day. I told him that wasn't necessary, since we'd be using my C100. He charged me for the use of some of his other gear: C-stands, sandwiches, lights, etc, but by owning my own cam, I was still able to save 600 dollars over the course of the six day shoot. When the shoot was finished, I had to go out and shoot some second unit outdoor stuff... shots of building, people walking down streets, etc. Stuff anyone could shoot on their own. And I had my own camera to do it with. If I'd kept my DP around to shoot that extra day, or if I'd had to rent the camera on my own, I'd have been another 300-500 dollars out of pocket.

The point to all this is that's worth owning a few vital pieces of equipment. But like Ned said, a lot of people get drawn in to the notion that they have to own top-of-the-line gear to "compete." That's a fallacy, and I agree, it'll put you out of business. My advice: get the gear you'll be using the rest of your life first. Things that won't become outdated:

Tripod and decent fluid head -- And there's no need to spend 8k. Really, if you're spending more than 1K, I think it's too much, unless your work is highly specialized, in which case you can rent situation to situation. I get by just fine with my Manfrotto sticks and 501HD head.
A few decent mics to cover all your needs -- A good Hyper, a good shotgun, and a couple LAVs. No need to spend more than 1200-1500 for all of these combined.
A bag -- To put all your junk into
A few good lenses -- Something wide, something telephoto, something good in low light. Again, you can stay under 1500 bucks and find most of what you need.

This is all hardware you can potentially use for decades, or until the gear breaks. Start with this this stuff. Some of it might be cheaper, not as glamorous as the higher end equipment, but it's all very useable, and with a little extra effort, it'll frequently produce results similar to higher dollar gear. Ops like to think sometimes that having higher dollar gear, cameras, etc, will make their projects superior, when in the end, it's execution of your craft that matters.

Finally, buy and own a camera. This is the one piece of equipment that you'll likely have to replace every 5-7 years. I recommend buying something that's been on the market for a few years, has an established reputation, has plenty of supporters, issues can be easily diagnosed, etc. Obviously, the C100 is perfect for this. Yuo can pick a mark1 up for really cheap right now. Fools rush in and buy the latest and greatest cams. Get something you know you can count on.
 
one last one and I got to get to chores...

A few weeks ago I shot a high end informercial for a direct response advertising agency. They had contacted me and at first I thought it was a run of the mill gig but then they sent me samples they wanted me to emulate. It was an OMG moment, looked like a feature film or extremely high budget TV spot, I wrote back that I am not at that level, it looked Alexa, grip truck, the works, told them I am now more of a corporate/documentary/nonfiction TV show kind of guy, but they said the samples I sent were "just fine" and they want me to do the gig but with a Blade.

Then their schedule got very crowded and I said there's no way I can be doing all these interviews and still do the b-roll, so they asked if I could recommend someone "very high end" for the b-roll. So I referred someone I hadn't seen in ten years who is known for the big stuff, has an Alexa and a Sony F55 (that's what I'd really want!), sets of matched primes and a shiny Sprinter van, with all the drawers and shelves full of the best of the best gear. Absolutely top end guy. I learned he charged $2300 for 10 but when you think of his equipment loans, that's probably like me, who has all his gear paid for, charging $1200? Knowing the negotiating tactics of the agency I suspect he usually charges even more.

But the point is: I asked him during a break, since he's in his mid-50s, what's his End Game. That's what guys in their late 50's and early 60's say as code for, "So? You going to be doing this forever? Thinking about retirement? What's your "End Game?" He didn't skip a beat and said he has no retirement funds, it's all in his gear, and he plans on shooting "forever".


So, think about your End Game even though it seems far away. To me, when I was 25 years old seems like yesterday! It goes in a flash my friends but savings takes forever to grow.
 
I am absolutely THE WORST businessman. Let's get that up front. That said, just thinking logically, I think there is a middle ground between Nedcam's rather depressing and fatalistic perspective on things, and the "invest all your extra money in gear!" approach. What makes sense TO ME is to get what you need AT THE MOMENT. Do you have high end clients? Do you have any prospects on the horizon for getting high end clients? Then you don't need high end gear right now. A professional but lower-end camera, a tripod that doesn't suck (depending on weight that $1000 sachtler might be just fine), some lights, and a mic or two that are on the lower end but not at the bottom will probably do you just fine. Do you have people demanding slider moves? Do you have any evidence you'll be able to get more work or make more money with a slider? Then you don't need a slider. Add jib, stedicam, Ronin, etc. to that list. Once you DO have that gear, I would use the s*%t out of it 'til no one will pay you for it anymore, THEN look into investing in newer/better gear. I would NOT keep buying things just cause there's money in your account. I would NOT sell the old cam and buy a new cam as soon as the old one has paid for itself, just 'cause "it's still worth something." Why not let it make its money back 2, 3, 10 times over and THEN sell it? Why not keep it and use it for lower budget clients who call and need something done but with insufficient budget to justify you using your better gear ("I can do the shoot for that amount, but can only bring the EX1")? At least that way you can still take the work and not be "giving it away."
 
Amen, I am only 29 but this year I started to realize this. Which is why I bought a used C100 AND still use my EX-1, I plan to grab a 4K cam with good slo-mo and ride those things to the ground. That being said I am also into content creation and to me that helps you make more money as well as allow you to produce more. Own the show
 
Interesting comment nedcam and probably a wakeup call for many. What will it feel like to be at the end of a career and have no savings but only stories of all the worthless gear you've owned over the years. That's why I am going to keep shooting on the C100 until clients basically demand that i don't. Until then, what is the point in wasting more and more money? By far the best money i have ever spent is on decent lights and training. Those two things aren't even that pricey but took me way further than buying another camera of the week.
 
DC Brandon said:
Interesting comment nedcam and probably a wakeup call for many. What will it feel like to be at the end of a career and have no savings but only stories of all the worthless gear you've owned over the years. That's why I am going to keep shooting on the C100 until clients basically demand that i don't. Until then, what is the point in wasting more and more money? By far the best money i have ever spent is on decent lights and training. Those two things aren't even that pricey but took me way further than buying another camera of the week.
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Wise words from Ned and DC Brandon. Gear fetishism is a horrible long term investment. I am a reformed gear head, I own a 5D MKII that still makes me money and a C100 MKI that has done very well for me for the past year. Anything more expensive, we are going to rent it and for the majority of stuff I shoot (medium end corporate, press junkets for Michael Douglas' latest film, a big market Latino film, been DPing a new Mohammed Ali doc for Showtime that will air next year, did a Sprint viral spot a few weeks ago), the C100 and Ninja Blade have been ideal. I have one client who has rumbled about shooting 4K and I told him we can easily rent an Epic, Dragon, Weapon, F55 if we need to do that. Other than that, 1080 has been fine for the past few years. Lighting, grip and audio are all superior investments to cameras, thety last and last and keep making you money. Other than sub $5k, I am done buying cameras, I don't need to anymore.

Ned, been slamming away $2k per month into my 401k and Roth IRA for the past three months, you kick started me back into it with your VERY realistic analysis of our business, I am about your age and I have been negligent over the past few years since I was laid off from a high paying job where it was easy to sock away 401k with matching funds. I did weaken and ordered a DJI Osmo but that is more to have fun and stick an occasional gimbal shot into my work than a serious money making tool and $649.00 isn't too much money. I am proud to say that my laptop is a 2011 MBP and my editing computer a 2012 iMac, both relative antiques and still running fine. My main camera is massively outdated too so it looks as if I am finally breaking my new gear acquisition disease (forgiving myself for the Osmo). My grip and lighting, I have had for two decades and it all still makes me a good amount of money per year as do my Sachtler tripods and audio gear. Cameras are a dumb place to invest your money for most.
 
I like many others used to buy a ton of gear, a lot I really didn't need. Here is my main kit that is fairly budget minded:

- C100 (+1 extra no-brand big battery)
- Kinotehnik LCDVF (Expensive but required. No Chinese copy exists in the C100 size)
- Shotgun Mic (Rode NTG2)
- Wireless Lav (RodeLink)
- Lenses (Tamron 17-50 and Canon 55-250. If a wide is needed then Tokina 11-16 as well)
- Tripod ( Whatever you can afford. Something solid with a good head. I have a Manfrotto head on cheap Chinese legs)
- Lights ( 2x 312 bi-color LED panels and 1 or 2 Arri copy fresnels. Some gels)

This will cover you for most corporate shoots. Anything else you can rent IF the budget allows for it. You can certainly go cheap on certain things, for example the fake Arri fresnels I have are very good and can be had for £60 each. You don't need L glass, you're only shooting 1080p. If you can afford L glass then go for it.

My advice is to buy everything used if possible. Some things aren't worth buying used however such as the Canon 55-250mm, I picked this up for £120 new. Read reviews and work out what you can go cheap on and what you can't. Over the past few months I've sold every bit of gear I don't need and my kit is very streamline now.

The only extra thing I really have for my C100 is an Atomos Ninja Star. Not really *needed* for corporate work, I bought it to use on my own short/feature projects.

There is no real need for a mattebox or follow focus. On the rare occasion where my lens hood isn't good enough I have a bit of black foil I use to make a flag. Follow focus, how often are you doing complicated focus pulls or tracking on a corporate shoot? How often do you have a focus puller?

Do you really need a full blown shoulder rig? I've found I don't need one with the C100 and IS enabled lenses. I just use my loupe and tuck the camera into my body, a bit like a DSLR.
 
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