TV Cameraman Matt Jasper unboxes and rigs up his new 7D

Matt 2 identities low
Matt Jasper, a cameraman for the UK’s Channel 4 news, picked up his Canon Eos7D this weekend and promptly rigged it up with some cool toys so he can use it for ENG. He’s planning to blog here about the experience of changing from a big, heavy ENG camera to a 7D rig, stay tuned. Here’s a quick video we did as his first instalment.

Products from Canon, Redrockmicro, Genus, Zacuto, Zoom, Sony and Pinknoise systems.

Canon 7D – TV cameraman Matt Jasper unboxes and rigs up his new 7D from Dan Chung on Vimeo.

You can see more about Matt and his work covering the Chinese earthquake on the Channel 4 news website here


Posted on September 27th, 2009 by admin | Category: Audio, Camera support systems, Canon Eos7D, Matteboxes and filters |

46 responses to "TV Cameraman Matt Jasper unboxes and rigs up his new 7D"

  1. Hector Batista Says:
    September 27th, 2009 at 12:36 pm


    First of all thanks for posting. Couple of questions though.
    On the back of Matt’s rig I see there is a Sony wireless receiver, where is that plugged into? Also is that a battery on the back 0f the rig? What is that powering? The rig looks great, I’m thinking of investing in an exact rig for my ENG work. Thanks!!!!


  2. Dan Chung Says:
    September 27th, 2009 at 1:15 pm


    Two good spots. The Sony radio mic should have a cable running to the Zoom H4n XLR input but as we weren’t actually recording anything we didn’t rig it. The battery on the back actually powers the 7D. Its a custom battery plate based which I’ll blog about soon.


  3. Philip Bloom Says:
    September 27th, 2009 at 2:25 pm

    i don’t like all these people getting their production models before me. Tell Matt to send it to me for time being please!!

  4. Perry Wilson Says:
    September 27th, 2009 at 3:33 pm

    Hey I am currently building the same rig now why did you go with the redrock offset and not the offset riser?

  5. tom lowe @ timescapes Says:
    September 27th, 2009 at 6:50 pm

    Dan I would think that the 7D should be able to run for hours on a single internal battery, no?

  6. Bela Says:
    September 27th, 2009 at 8:06 pm

    Nice rig, but what is the use of any handheld support system when they give you TWO BICYCLE HANDLE BARS?

    Let me see if I can figure this out… You hold the rig with both hands and keep it steady. Cool!

    Now then…. what do you do to STAR/STOP recording, do any adjustments, like ZOOOMING and IRIS CHANGES? How about ADJUSTINGF FOCAL DISTANCE?

    Wouldn’t these things be rather hard to do when you have both hands out front, grabbing the support handles?

    In an ENG camera, you use the right hand for support, START/STOP action, and SERVO ZOOM CONTROL. Concurrently, you can use your left hand for, focus adjustments, manual zoom, whatever.

    Seems to me that is a morte resonable system of operating a camera, no?

  7. Chris Says:
    September 27th, 2009 at 10:13 pm

    Fantastic rig, I am really impressed how the world of film is merging with the world of DSLR’s, there will be so many neat toys! (perhaps like your rig setup)

    I am also excited to see your news on the D300s as that is a camera I want to purchase and I want to know what a pro videographer thinks of it. I love my D80, but I think its a time for the change to a video capable SLR.

    Thanks for a great website, keep it up! (p.s. I have a blog post about your setup)


  8. LEONT Says:
    September 28th, 2009 at 11:44 am

    Hey Matt,

    Congrats and nice video.
    I was wondering how much this rig costed you?
    I’m thinking about picking up a setup similar to it so I can really utilize my 5D2.



  9. Bela Says:
    September 28th, 2009 at 12:12 pm

    @Chris #7, the “world of film” is definitely not merging with the world of video, let alone the world of DSLRs.

    Please do not confuse 35mm motion picture film cameras made by Aaton, Arri, Moviecam, Panavision, etc. with video-capable DSLRs made by Canon, Nikon, and Panasonic. They have got nothing to do with each other, and they are definitely not “merging.”

    Also, if you read th Nikon D300′s specs, you’ll soon realize that it comes nowehere close that what you can get from either Canon or Panasonic by way of an HD-SLR.

  10. Perry Wilson Says:
    September 28th, 2009 at 10:55 pm

    @Bela #6:
    first of all this is the exact rig I use with my 7D and if you are any good at what you do then you can pull focus with one hand while holding the cam steady with the other. second these are def. not bicycle handles they are well crafted and Redrock took a lot of time to design them… Now recording… stop being a lazy a*^ and reach you hand up and press record… now for
    @Bela #9
    The world of film is merging… Huge 35mm Film is a thing of the past… Even Arri in conforming to 3K digital… and 2/3 sensors… DSLR’s use ASP-C sensors as does the Red One and if Im not mistaken more then 40% of films last year were made with the R1… Many films are even being shot with DSLR’s such as the 5D MK2 along with many music vids. So stop living in the past with you dinosaur of a camera and join the DSLR revolution…

  11. Anthony Says:
    September 28th, 2009 at 11:27 pm

    Hi there. Interesting setup. Does the pinknoise cable running from h4n to 7d automatically put the h4n into record when hitting the record button on the camera?
    It’s not listed on the Pinknoise website.

  12. Anthony Says:
    September 28th, 2009 at 11:54 pm

    Ignore my last question. Just seen your other post regarding the cable. Thanks

  13. Bela Says:
    September 29th, 2009 at 9:12 am

    @10 Perry, pros have difficulty pulling focus on 35mm and even S16mm shoots with film cams, and you would not have any problem using still photo lenses? Yeah…. with the exception of the stock Panasonic lens that comes with the GH1, all of these Canon lenses are STILL PHOTOGRAPHY LENSES.

    And not VIDEO LENSES. Big difference, huge.

    Granted, Canon makes some very nice video lenses for 1/3-inch, 1/2-inch, and 2/3-inch sensor size professional video cameras. Jsut not for their DLSR cameras. Not yet, at least.

    The hadles on the Redrock are regular bicycle handles. You can easily replace them with one you can get at any bike shop. I don’t see how it took any great amount of time to “design” them — they were already invented beforehand, you see.

    “Huge 35mm Film is a thing of the past.”

    MY POINTED SUGGESTION: Obviously, you need some expert help in trying to come to grips with reality, Perry. You are losing it, man.

    “Even Arri in conforming to 3K digital.”

    MY RELATED REQUEST: Please, do not say untrue things here, Perry. The new Arri D-film cameras will have an app. 3.5MP sensor. They will record at 2K (2048 x 1080) rez images only. And not 3K, as you are broadcasting here. The difference between the needed app. 2.3K and 3.5K sensor will be used to provide a “look around” area around the framelines, so you can for instance see that mic jsut above the top, and so on. Same as with film cameras. A nice feature to ahve, unfortunately the DSLRs cannot do that, and most of the video cams cannot, either.

    There is no “DSLR revolution” anywhere, dear friend. There are some digital still cameras that can also shoot video clips, very convenient when you are in a bind. They were never expected to “replace” anything. If you want a more substantial camera, you will have to pay more than a throusand or two thousand bucks for one, you know.

    Perry, if I may ask you: how old are you?

  14. Ross Says:
    September 29th, 2009 at 9:43 am

    Hi – great post and insight!

    I wonder if it would be possible to list the exact kit with price and supplier – to give us newbies and idea of the investment involved in getting this AMAZING setup?

    thanks – keep the posts coming!

  15. Perry Wilson Says:
    September 29th, 2009 at 12:11 pm

    @Bela 13
    I am 21 and have been shooting freelance since I was 15… I am a FSU film student and shoot with Digital cams on a daily basis…
    Arri repseven agree that digital is the way of the future… and I agree… I have had many cams everything from little sony HC3′s to canon XHA1s, Arriflex 235, to Red One, and 5D mk2… and the least productive cam I ever worked with was 35mm film. I love the 7D and 5D… if you were to work with these cams you would also. If you don’t think there is a “DSLR Revolution,” then you need to wake up… as I type this DP are turning to DSLR’s for there films. Even Saturday Night Live is now using the 7D… don’t get me wrong will DSLR’s ever take over film, no. But one can’t help notice the “merger” of these cams into the industry. I love my RED and will get a Scarlet when they are released…

  16. Bela Says:
    September 29th, 2009 at 3:43 pm

    @Perry #15, okay, thanks. I onty asked your age to see if you had spent much time shooting with traditional film cameras. I shot with 16mm cameras first in 1969 when I was 15, then with S16, and even 35mm. I shot with my first VIDEO camera in December 1971, using a Sanyo two-piece field recording unit. There was the B&W SD camera, a cable, and then a VTR hanging down from your shoulder recording to 1/2-inch tape.

    So, I’ve seen a few form factors come and go, you see.

    There is a famous 1962 issue of the ‘AMERICAN CINEMATOGRAPHER’ Magazine, in which there is a roundable discussion by noted ASC members. The concensus reached by them then was that “film will be dead in 5 years, completely replaced by video.”

    Well, five years from 1966 came out to be the year 1971, and guess what: film did not die then. In fact, both Arri and Aaton recenrtly released brand new FILM cameras.

    Why do people have to bury film cameras all the time, and so prematurely? Were they so bad, really? Then why do some people still try to imitate “filmmaking” by shooting at 24p with a VIDEO camera, when everyone knows that 24p or 24fps is NOT a video speed. That would more likely be 30P/60i in the US and 50i in Europe for SD. The new European HDTV standard is 720/50p, good luck shooting at 24p for Euro TV then.

    I don’t “love” any of the CMOS cameras with the rolling shutters, as they are useless for any scenes when the camera moves at faster than normal speeds or when the subjects move front of the lens at faster than normal speed. CMOS+R.S. is great for still pix, a bad technology for motion. Use a 3CCD camcorder instead, like the Panny P2 Varicam’s you’ll be happier.

    The Red one also has a CMOS sensor with rolling shutter, why shoudl anyone spend more money for one of those than for a 7D, beats me. You can’t do reliable action capture with either, especially if you plan on projecting it onto the really BIG screen. Also, the Red uses a resolution size that is really not good for anything. HD or 2K is what we need today, not 4K or 128K. “Scalet” — I doubt that will ever happen, I am sure the company will be belly-up well before that.

    I would say 50 years from today people will be still happily shooting on 35mm film stock, and by time you will be 71 years old, Perry. Remember my prediction from 2009 then, please. ;-))

  17. Perry Wilson Says:
    September 29th, 2009 at 7:14 pm

    @bela #16
    so you are 50 something years old? I’m surprised you are able to type on a computer, who cares what an article from 1962 said, thats like saying years ago people believed the world was flat, so surely it is still true today? NO get with the times… don’t down me because I am 21… Next, RED will never go belly up IMO. With the prices that there units and accessories come out, they only need to sell a few units to stay alive and since that is the case I am sure I could find at least 100 people who would love to invest in that company to keep it alive(but we all know this will never happen)… as far as the scarlet/epic goes… IT IS OUT, turn up your hearing aid while watching videos of IBC 2009 and you will see first hand reviews of Epic… Jim Jannard has posted that scarlet/epic release dates will be announced this october… IMO it will be out before Q2 2010… and we use digital for quality and ease… U.S. Film industry standard frame rate in in fact 23.9 FPS… as the rolling shutter goes if you are good you can get around this… Goes see Gamer(not saying this was a great film) but it did implement CMOS with rolling shutter and it had a lot of fast pans and such… and you wouldn’t even notice… Why shoot in HD when you can compress 4K into 2K for big screens the picture quality has far surpassed film…

  18. Bela Says:
    September 29th, 2009 at 8:22 pm

    @Perry #17, sorry, the piece I was mentioning was published in 1966, not ’62. My typo. American Society of Cinematographers — have you heard of them? Maybe you are already a member? It sure sounds to me that you should be nominated for full ASC membership immediately, at the very least. I mean, you have heard about the Red camera and all those new, fancyful things, huh?

    I thought Red as a company wa already pretty much out of the camera business, no? See, that’s how much I know. I mean… a few years ago they went to NAB in Vegas, announced all sorts of fanciful new models, anywhere from 3K to 128K in resoltution. But since then — nothing. Dead silence.

    But hey, maybe they will return to NAB next April, announce a really cool 1000K rez camera, and then we can wait some more… You think?

    Perry, you are folling yourself and others here with your Red-colored fantasies, you know. The camera you re talking about was announced by the same people back in April 2007, Amigo. So, now they re-announced it once again in September 2009. Phew, that’s really something, eh? Then more announcement to come later… and then maybe even a camera next year. Maybe.

    I guess you are impressed by the fancipul PR hype from California, but I am not. If that is the Red Nirvana you are waiting for, what are you even doing here on the pedestrian HD-SLR web site? Anyhow, your precious Red willaahve the same CMOS & rolling shutter technology as any of these HD-SLRs now have, so I hope you are not fixing to pay more money for a Red than you can get a Canon for, right?

    “U.S. Film industry standard frame rate in in fact 23.9 FPS.”

    MY TAKE: Perry, you are rather dense, aren’t you, my young friend? Where are you coming up with this shit from — from the ASC Manual? Or are you Jim Jannard’s long lost nephew, perhaps?

    Yes, you can indeed “get around” rolling shutters as such. Easiest, simplest way to do it is by shooting with 3CCD sensor video cameras, you see. Those have GLOBAL shutters, you see. Thus you have already gotten around the whole R.S. mess, you see.

    “Why shoot in HD when you can compress 4K into 2K…”

    MY CRACK AT THAT: Good question. Let me ask you another one: Why shoot 4K and compress it to 2K, when you can soon shoot at 128K and compress it to 2K? Follow my thinking here, My Dear Perry, ASC?

  19. Perry Wilson Says:
    September 29th, 2009 at 8:36 pm

    Canon has never announced a 128k cam the largest res cam that they have ever announced is the red Epic 617 Pro and it is 28K and yes good question, I would love to shoot in 28K and compress it to 2K it would look surreal… And I know when the scarlet was announced I was there with an open mind and ears… and like many others I have stood by while RED perfected that same cam… and the waiting will soon come to an end… And I will be buying the Scarlet s35 DSMC for the fact that I don’t want a full frame cam but I do want 5K Redraw footage… and yes I know of the ASC it is a makeup of old people just like you at the end of their rope losing their creativity and minds… I have seen indie films that would blow your mind… everyone is entitled to their own opinion, yours just sucks… and do your research before you bash red… Or do you not know how to research on the I-T-E-R-N-E-T!!! slow down and don’t hurt yourself…

  20. Bela Says:
    September 30th, 2009 at 9:45 am

    @Perry #19, you are absolutyely right, CANON had never announced a 128K sensor camera. As Canon is a well-established, reputable company with a wide range of product lines, operating for many, many decades rather successfully.

    Instead, it was Red that announced a whole host of mega-sensor cameras. This was back in April 2007 at the NAB, actually, but I still don’t see them out there, available for purchase, two-and-a-half years later.

    “I would love to shoot in 28K and compress it to 2K it would look surreal.”

    MY TAKE: Whereas I don’t rightly know about the “surreal” part, I think doing so would be really stupid.
    Now, I hope you not saying to us here that ANNOUNCING a camera is the same exact thing as MAKING and SELLING a camera. Or do you?

    “I do want 5K Redraw footage.”

    MY RELATED QUESTION: What on Earth for would you want anything like that, My Good Man? You don’t need it, trust me. Go with an HD or maximum, 2K image of 2048×1080 pixels, and you’ll be fine,. Nobody needs more than that, not even you. Maybe many years or decades from now, just not right now. Nopie-dokie.

    Or are you also going to be getting a six-wheeled car? ;-))

    “The ASC it is a makeup of old people just like you at the end of their rope losing their creativity and minds.”

    MY RELATED QUESTION: So I take it that YOU are NOT a member of this venerable Make-up Society? Of course, I can see then how the ASC ain’t worth no nothing then, hmmm? And here is my prediction: you will never be nominated to be a member, either. As you apparently prefer working instead with phantomware, hypeware, and fantasyware cameras made by Invisible Red Company. Right?

    Now, re. these “indie films that would blow my mind,” how come that only you can see these things and we in the general public cannot? That hush-hush, eh? And did you make all of them yourself, Perry, or what?

  21. ZhiC Says:
    September 30th, 2009 at 6:54 pm

    I like your quality work and your review of this new Dslr Video world.
    Looking forward for your future work on Vimeo :)

    Meanwhile, are you at the Beijing 60 years parade right now? Haha, if so, be sure to bring back some awesome footage.


  22. Jim Says:
    October 1st, 2009 at 3:28 am

    I’m loving this arguement between Perry and Bela.
    I have to side more with Bela though.
    Yes, for now, Arri are very unlikely to produce any more film cameras, the Arricams and 416 being the last. But definitely does not mean that film is anywhere near dead! Kodak still spend millions on r&d and are still constantly bring out new film stocks. You need to stop trying to compare film to video, they are two different mediums that can, and do, exist along side each other. Both with their merits and flaws. I have worked in the film industry for a long time now, working with both film and video, and yes, slowly more and more jobs are moving over to video. But I would say that film is still the preferred choice of medium to film on. Normally the reason for shooting on video is purely budgetary one, and not creative one. Saying that, producers are realising that shooting on video is not actually as cheap as first thought, and many jobs seem to be moving back to film. These extra costs included the added cost of the D.I.T., the cost of digitizing the footage (one producer told me The Mill charged 0.3pence per frame of red footage to digitize it!), and I was also told that post work and grading tended to be more expensive due to the unusual workflow of the Red.

    Perry, your stupid statistic that 40% of films made last year were on the R1 is irrelavent. What exactly do you mean by ‘films’? The fact the Red is so cheap is great as it brings film-making to the masses. From this some lovely little films are produced, but also a great deal of crap. But if you go to the cinema, still about 90% of films are still produced on film.
    I bet if you asked any indie film maker if he would rather make a film on 35mm or on a Red 1, he would choose 35mm every time. So again, the usual reason for not shooting on film is money and not a creative one.
    Also, to say the the quality of HD has surpassed film is such an inexperienced narrow minded thing to say. If you’re talking about resolution, then yes, I guess it has. But what about all the wonderful qualities that film has, the latitude, colour rendition, the grain structure. Perry, I’m afraid I do agree with Bela in saying that you need to grow up. You need to understand the love, organics, and creativeness of the film making process, it’s not all about 2K this, or 4K that. We’re not learning maths here, we’re learning art.

  23. Bela Says:
    October 1st, 2009 at 12:41 pm

    Re. DSLR AUDIO: For news gathering applications, I just don’t see how using a video-capable DSLR makes any sense. For news, like interviews and whatnot, you will need PICTURE + SOUND, right? This is next to impossible to do with a DLSR today, due to the almost useless built-in garbage mic, the consumer-type unbalanced mini jack, and especially the AGC. So, you’ll have to do dual system sound.

    Many decades ago, that is how the news were collected. With dual system sound. You had one person operating the 35mm or 16mm film camera. And the second person picking up sound with a UHER or NAGRA reel-to-reel tape deck. Then you had to synch sound to picture before you could show or broadcast it.

    Whereas this workflow was fine and dandy in the 1930s through the 1970s, these days there are actually VIDEO CAMREAS that can record pretty good quality sound internal to the camera. SINGLE SYSTEM SOUND!!!

    It’s just with the current crop of DSLRs, this is not possible. I would hope that by this time next year, there will be a new generation of HD-SLRs out there that will have one or two balanced XLR inputs for pro audio sources, as well as an HD-SDI OUT port as well. Then, we’ll finally have something to brag about.


    @Jim #22, I agree with you 100.000%. Unless Arri has some other celluloid-based cameras in the peipleine, they may slack off with developing new ones. But Aaton rather recently came out with the Penelope and Xtera, so I can see a point in time when Aaton will still be bringing out new film cameras and Arri will not be. You think?

    I also agree that “producers are realising that shooting on video is not actually as cheap as first thought, and many jobs seem to be moving back to film.” These days, you can get a wonderful wonderful 2K scan done from either S16 or 35mm for not all that much money, you’ll end up with DPX files that rock. Using the Lasergraphic Director vs. the Arriscan saves you money, too. Renting a film camera is definitely cheaper than renting a comparable videocam. Plus, you’ll end up with camera negatives, which will probably be a tad better to make new versions from 40-50 years from now than if you had shot on video today.

    Re. the by now notorious and oft-ridiculed RED WORKFLOW, the post houses in NYC (DuArt, Technicolor, Goldcrest, etc) will love you to death if you shoot with the Red and bring the project to them. All post work will cost about twice as much than if you had shot on any other equipment.

    Jim, I am not sure what the term “DIT” means, please?

    Jim, I think what Perry must have meant was that 40% of all films shot with Red cameras last year were shot with the Red One. The other 60% was shot with the Red Scarlet. :-)

    Red is anything but cheap. In fact, when you consider the cost of accessories and the outrageously expensive and troublesome post workflow, it might be the most expensive way to shoot something, be it film or video. Many of its supporters have somehow convinced themselves that even though nobody needs this or expects this, they have to shoot at 4K rez, no matter what.

    Jim, I am not seeing how the resolution of video can even come close to that of film. Even with 35mm full frame MP stock, you can easily do a 6K scan of it, and in China they are doing 8K scans already. And you can also shoot on 65mm neg that has app. four times the image area, not to mention the Imax frame which is even larger. All you can get with video for rez is 4K, but actually in the case of the Red One, the acquisiton rez is only about 3.2K. Not 4.0K.

  24. Jim Says:
    October 2nd, 2009 at 5:45 am

    Bela @23. A ‘DIT’ is an extra technician who comes out on set with one of the HD cameras. He is usually an extra to the Focus Puller and Clapper Loader (1st & 2nd AC). Dunno what it stands for, something like ‘Digital Interface Technician’. With the Arri D21 and the Panavision Genesis, etc, you usually don’t need one as they are pretty simple to use. But with the RED, this extra person is needed as he spends most of his time off set downloading the footage. Sometimes production will try and loose the 2nd AC and have the DIT instead, which is a real stitch up as it leaves you very short staffed on set. Also, because many REDs are privately owned, the owner quite often insists coming out on set with it as a DIT, which again can be annoying as they usually have no understanding of how a film set works and are always in the way.
    Also, film is a far easier format to use. Take the camera out the box, load a mag, put a lens on, plug a battery in and turnover. Very little can go wrong, and rarely does. HD is a different matter, you have to run a billion cables everywhere, calibrate all the monitors (because the skill of the DOP using a light meter is fading, many new video DOPs now just look at a monitor! – and if they are not calibrated correctly…..very expensive grade). also you need to go through the menus in the camera to set the format, timecode, gamma, knee level, etc etc etc, etc then the bloody thing crashes and you have to reboot it. Then the sound man comes and plugs in even more cables, by which point the battery is flat and you’ve missed that beautiful dawn shot :-)

  25. Bela Says:
    October 2nd, 2009 at 10:16 am

    @Jim @24, thanks for the explain on “DIT.” So it is a person, is it? I hope it is not an abbreviation for the word ‘idiot,’ though. ;-)

    Wow, you really are piling on the stuff here, hmmm? I am not disagreeing with anything you say per se, it’s just that film acquisition has its own dark side as well. In our case, I’ve seen it all, or most of it. Misloaded film in the mags where the entire camera roll came out OOF. Mis-fed film at the gate, resulting in OFF/soft focus. Hair at the gate. Diffiulty in focusing properly. Exposed film “lost in transit.” The lab going out of business and the court holding the developed negs “in ransom” for over one year. Mayhem in the telecine suite, when no two lab rolls really match. Mayhem at syncing pix to sound, or times when either the picture is missing or the dialog is missing. And so on. Seen it all (well, most of it).

    These days at least you can have the developed film scanned automatically, instead of using that stupid-ass, arcane, and expensive telecine process with the colorist.

    There is also the shooting ratio. I talked with ‘young turk’ directors who have shot 200 hours of fotoage using Red One or SI-2K cameras. I am not sure how many hours of 65mm film Wyler shot on “Ben Hur,” but it was probably a whole lot less. Now, with a 100 minute finished product, if you shoot 200 hours on a flick, we are talking about a 120:1 SHOOTING RATIO.

    I consider that quite high. Maybe an 8:1 to 10:1 shooting ratio, if you go much over that you are probably doing something wrong, anyhow. At least if you are working with actors.

    Re. calibrating LCD monitors on set, I am not a big believer in that. As I don’t think the film set is really the place to worry about colors and such. Just set up the camera the best you can in the menu, save the settings in the user profiles, then compose, focus, and shoot. Worry about everything else later.

    For this reason, I always try to have the chroma turned all the way down on the LCD monitor(s), anyhow. And watch everything in B&W. Easier to compose the image. And easier to focus, I found.

  26. Perry Wilson Says:
    October 2nd, 2009 at 6:07 pm

    I appreciate your 2 cents and detailed explanation… but as you said we are not learning math we are learning art… well, art is subjective and there is no right and wrong… I never once said that film is dead, I was simply standing up for video… the issue I have with Bela is the response he gave in post #6 where he trashed another responder who was excited to say how he was getting a new video cam and had noticed the “MERGER” of video into the film industry… I am bothered by the constant downing that “FILM” people put on us video guys… why can’t there be a “merger”… I just don’t appreciate his comments downing the people who can’t afford $60,000 cams making it feel as if they will never be able to make work that even equals film…

  27. Bela Says:
    October 2nd, 2009 at 8:01 pm

    @Perry W. #26, the inferiority complex you are referring to when it comes to how “film people” are relating to you and the other video dudes is perhaps due to the fact that you seem to boast that video is somehow superior to film just because it is a slightly newer invention. Apparently, ot only is the troublesome Red camera superior to any other invention of Mankind, but the video-capable DSLR makes everything else obsolete as well.

    I NEVER heard of a film person bitching about video, as on most pro film set there is always someone running around with a video cam to do behind-the-scenes or test shoots or whatnot. Nobody is lynching the guy/gal with the video camcorder, see?

    Nor have I heard a film person desperately trying to use a VIDEO LENS on a FILM CAMERA, for example. On the other hand, there are tons of products and web sites dedicated to make you part with money for trying to affix a FILM LENS onto a VIDEO CAMERA (P+S Technik,. Letus, etc. “DOF” adopters).

    There is no “merger” of film or video that I know of. You have one. Or the other. They would “merge” perhaps if you had a hybrid camera and/or projector that would be able to shoot and/or project both film and video at will. I am not aware of any such product as of yet, actually.

    Perry, for you it is a constant class struggle out there between film and video. There is no such thing. If you can’t afford shooting on film, or you don’t want to for some aesthetic or pecuniary reason, there is always video. There is certainly nothing wrong with that, and that is why we are all here to beat its drum.

  28. Bela Says:
    October 3rd, 2009 at 5:27 am


    With these newfangled DLSRs being 18MP and higher in resolution, I was looking for matching pixerl resolution projectors to watch the video footage captured by them.

    Could not find any, and the closest I could find was this mere 10MP, 4K rez projector from JVC for US$ 175,000.

    This would be a nice match for anyone already having a RED ONE camera, don’t you see? You pay $17,500 for the RED ONE camera without the lens, and then you pay $175,000 for the JVC projector, also without the lens. Both of them are rated at 4K rez. So, just throw in some lenses for the camera and projector and the needed accessories for both, and for only about $250,000 to $300,000, you would have a nice true high-def video shooter’s and presenter’s package.

    After all, what’s the reason for shooting at 4K rez and above if you have to then downgrade it to HD immediately just to be able to watch it?

  29. Davide Says:
    October 3rd, 2009 at 10:46 am

    needed here

  30. Samoys Says:
    October 3rd, 2009 at 12:25 pm

    lot about you

  31. hui Says:
    October 4th, 2009 at 2:55 am

    really impressive!!!

    hello i am a chinese indie filmmaker(or low budget if you like),can you give a product list of yours “little rig”,the video give me heart attack.

    niu bi!

    i live near nanluoguxiang btw

  32. v.striemer Says:
    October 4th, 2009 at 7:05 am

    This Rig looks good. But did You´ve ever seen before, the Rig for DSLR´s from the German company MOVIETUBE?
    I get this German Rig an it´s great. You work with it , like a Movie Camera. Here is the vimeo link:
    - or on my website, You can find Pictures :

  33. Perry Wilson Says:
    October 4th, 2009 at 8:01 am

    REDROCK micro Products:
    1: 1x Shoulder Mount
    2: 1x hand grips
    3: 1x 12 inch rod
    4: 1x 18 inch rod
    5: 1x shoulder mount offset kit
    6: 1x Follow Focus V2
    7: 1X Follow focus ring

    1x Genus mattebox
    1x Zoom H4n

  34. Bela Says:
    October 4th, 2009 at 9:46 am

    @Perry Wilson #32, if you do not mind me asking, how would you happen to know so precisely what Matt Jasper is using for acccessories? Oh, ah… never mind.

  35. dilandinga Says:
    October 4th, 2009 at 4:10 pm

    MQo5SQ I bookmarked this link. Thank you for good job!

  36. Perry Wilson Says:
    October 4th, 2009 at 4:41 pm


    I use the exact same rig on a day to day basis bought it over a year ago for my XHA1s

  37. Bela Says:
    October 4th, 2009 at 5:17 pm

    Perry, are you perhaps talking about the Canon XH-A1 video camcorder that is still going for around $3,000 online?

    It being a prosumer video cam with some fanciful connection capabilities and all that, why on Earth do you need to do dual system sound pick-up with it, using the Zoom H4n flash memory audio field recorder?

    Also, I am not at all sure what the advantage of the two handle bar camera support is, as a person usually uses two hands to hold and operate the camera. If you have a single handle bar rig, you could still use your free hand to operate the camera (focus, zoom, iris sound level, whatnot). But when you have both hands tied-up grabbing at two handle bars, who’s running and operating your camera?

    BTW, here is a nice rig sold by B&H and made specifically for the Canon XH-A1, although it costs a cool US$9,950.00.

    Keep in mind, too, that this “item is non-cancelable and non-returnable.” Ouch, that hurts!

  38. iraraider Says:
    April 15th, 2010 at 9:32 am

    May I suggest trying the i-cuff viewfinder eyecup out for all you DSLR and video shooters out there? Works great with the Zacuto Check out Philip Bloom’s site and ours…

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