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Showing content with the highest reputation since 12/22/20 in Posts

  1. 2 points
    The business has just changed. I started shooting with Ikegami’s in Adelaide in 1984...I’ve owned a bunch of Sony EFP and Panasonic cameras...things are just different now. The business model for documentary guys like me is different now. I bought a standard definition digital PAL betacam in 2000 for $58,000. And I made a lot of money with that camera....but it was a time when folks called me and asked whether I was available and that was it....they didn’t ask what camera I was using (they knew) and they didn’t ask for specific lenses...it’s a different world now. Currently I own four pro cameras to satisfy my market and they barely amount to that one PAL camera...but I still make a decent living! I think cameras like the FS7 and now the FX9 are the betacams of the day for the doc world and I say that regretfully....folks that have grown up in this S35 world for documentaries have been denied an awesome platform...we have not continue to follow the natural progression from 16mm for docs to the 2/3rds inch sensor...despite the fact that Sony does still make a great 2/3rds inch camera that shoots slog etc.... I need to turn cameras over every four years now...I got eight years from my Varicam and probably close to that with my Digibeta. Can’t do that anymore...producers want the next new shiny thing....so buying something for $12000 gives you an opportunity to make some money before you have to turn around and buy the new thing. But in saying all this....small cameras are great for cars and all the crazy small places I find myself. The cameras are all of such incredible quality now....I don’t care who makes them....they are all great...if you know what you’re doing you can make them all look good.. The days over spending $30000 per lens and $60000 on a camera body is something few can make work financially anymore I believe.
  2. 2 points
    Hey gang, I'm a shooter in the midst of deciding which direction to pursue and just discovered this site. After graduating from SAIT's RTBN program I started shooting and editing freelance for local media in 2014. I've been working full-time for four years mostly shooting local news and simple projects for Citytv. I recently decided to grab a communications degree this year, so I'm currently working part-time for CityNews in Calgary while in full-time university. Most of my shooting experience thus far is ENG, studio, and sports but I'm wanting to get into production work and would love to work on documentaries, perhaps even work abroad and in conflict zones. I'm unsure if the film industry is a worthy pursuit or freelance is the way to go. I'm pretty confident in my shooting, want to learn and improve a lot more, and don't really know what next steps to take. I am looking to possibly make the move from Calgary to Vancouver next fall as I believe there may be more opportunities out west? I'm pretty green and don't know much about career development at this point or really where to get started from here. All I know is that broadcast television in my market has nosedived since I started and I'm much more interested in scaling up my opportunities than staying in news. Looking for inspiration on this site! Nice meeting everyone. I would like to know if anyone has come from ENG news and developed a role in production or freelance work successfully. I am looking at my potential paths and would love some mentorship or advice. Glad this place exists and I really hope to get to know some cool people. Hit me up! Cheers, Stefan
  3. 1 point
    Hello everyone. I'm a video editor & cameraman living in Tokyo. I've been in Japan for over 25 years. Most of my work is corporate video.
  4. 1 point
    I can only speak for the market that I work in which is primarily Los Angeles but do shoot docs around the world. Apart from the cost reasons that I explained earlier, I truly believe the main reason we don’t see more cameras in this form factor is physical size. There is a whole generation of documentary operators that have never used a camera in that style.....many don’t use viewfinders....just onboard monitors...everyone wants small so the camera is more versatile. A camera like an FX9 can be made to be quite small for a gimbal and not much larger for a shoulder handheld configuration. That’s what the majority want. If there was a demand for larger form cameras there are plenty of manufacturers to make one. Sony make a very high quality 4k camera albeit a 2/3” sensor but it only really gets work on reality shows and news gathering. Personally I want a smaller camera setup to get it into tighter spaces and also so I don’t get as fatigued. I spent thirty years with EFP form factor cameras...I welcome the smaller rigs!
  5. 1 point
    You asked: 'Why don’t we see more ENG/EFP form factor digital cinema cameras?' Yet you're not prepared to discuss potential reasons put forward by readers. Maybe those reasons put forward are why you don't see digital cameras in such form-factors. But if you already know the answer to your question, why ask it? This has been like putting forward ideas at an Old Boy's Club, with the typical close-minded views that are all too common in Old Boy's Clubs. Is this forum an Old Boy's Club, where certain people just have to shut up and listen to their so-called elders? Then better to just let the Old Boys get old and retire while they reminisce about the good old days and their 'real' cameras and now broken bodies.
  6. 1 point
    I think you may be of the mind set where 'this is the way we've always done it' and therefore nothing else will be considered. The times they are a changing. It's not simply cost, but that's a major factor whether you're an independent or a company. Why is the RED Komodo so popular one may ponder? Cost, form-factor, size, weight, functionality, options available, accessories available etc. You appear to assume a lot from what I've said regarding my knowledge of camera gear. When it comes to stills photography, I've shot with every conceivable camera type from large format to very small point and shoot cameras. So I have a pretty good idea of what size and weight means when it comes to hand holding a camera and keeping things steady. My current run & gun rig weighs 4.1kg, something that many baulk at as being way too heavy, and I stick that on my Crane 3s which brings the total weight up to 8.3kg. My earlier rig weight 9.1kg on it's own. 4.1kg is just about right. Try placing your ENG camera from your shoulder onto a gimbal, then a slider or maybe a car rig. I think that you'll find the versatility I spoke of isn't so applicable to the photo I posted. And you are using that old argument from authority basis: I think that you are wrong. And why don’t we see more ENG/EFP form factor digital cinema cameras? Because the manufacturers are right. And in case you don't think I have any idea about cinema cameras etc, here's my latest and most favourite: https://www.youtube.com/watch?v=LC_boIGYPY8.
  7. 1 point
    You only fixated on my second comment about shoulder use, not my first comment that covered more important issues. If I'm empirically wrong, then 'Why don’t we see more ENG/EFP form factor digital cinema cameras?' I guess all the comments in the article itself, where they more or less reflect what I've noted, are empirically wrong as well. This photo already tells the vast majority of people that ENG cameras are not for them, for the reasons I stated: Yes, I'm well aware that you can do waist level shots, low level shots, over the head 'Hail Mary' shots etc with an ENG camera, but how many buy one with all of that in mind? Perhaps these people are also empirically wrong? And one should never dismiss an outside point of view; sometimes these can highlight the obvious that is often missed.
  8. 1 point
    Experience comes for observation. It's what I've observed. When the only thing that you see and hear about ENG cameras is shoulder mount applications, what other deduction is one to make? I recently read this comment: In fact, the entire article is about shoulder mounting. If these cameras are so versatile in all manner of applications, why isn't this more broadly discussed? Not just in one article, but everywhere? Perhaps buyers and manufacturers are also of the opinion that ENG 'style' cameras are purely for shoulder mount applications, given that it's the only application that's ever discussed, and examples of other uses are hard to find. I shall now get back in my box, close the lid, and hope that 2021 is a better year than the last.
  9. 1 point
    It was an observation that I've made from what I've seen over many years in predominantly outdoor situations. That said, every discussion that I've seen/read about ENG cameras vs 'the others' revolves around the comfort, ease of use, whatever, of being able to hold it on one's the shoulder for long hours and be able to use the exceptional EVFs. ENG cameras are designed to be predominantly shoulder mounted, me thought. What is one to assume when you see, read and hear nothing different? How about some examples of the versatility of an ENG camera shown in the article, compared to the others? I've actually shown how versatile one of my run & gun rigs is when it comes to all manner of shooting options. I doubt very much that any ENG camera could compete. As a footnote, I just came back from a week's camping in our High Country. It's not 'high' in comparison to what to what you get in say NZ, Europe or the US, but the term arose from the English settlers as they explored the land. Anyway, I took my rig along, with a Crane 3s gimbal, and I'd love to see a typical ENG camera, as depicted in the article, on such trips.
  10. 1 point
    You can get a lot of shots with an ENG style camera, true, but it can be very cumbersome in some cases compared to a tiny DSLR-sized camera. I think that was his point. ENG cameras are designed to be on your shoulder, that's where they feel most comfortable. But trying to rig an Amira inside of a car? No thanks, I'd rather use something smaller.
  11. 1 point
    That is totally not right. You only get one perspective?? As someone who used ENG cameras for more than 20 years I can tell you that is so untrue. I just don’t get people who have never used cameras like that making blanket statements about how they work.
  12. 1 point
    Whilst I agree with everything you say, this conversation began with ergonomics. Full size ENG/EFP camera ergonomics doesn’t inherently have to be linked to price.
  13. 1 point
    I agree with what’s been said above and on the discussion under the article. I also want to add that another problem eng style cameras have is that they’re not part of a logical camera buying or operating progression for most people now. If you’ve not used a shoulder mount camera before and you’re coming from a dslr, mirroless or something like an fs5 or c100 form factor, then putting a camera on your shoulder seems quite odd. I’ve used an fs7 and arri alexa rigged up for shoulder mounting because the productions required that, and ended up really liking it. But I wouldn’t have chosen to go that way on my own. It’s a catch-22.
  14. 1 point
    I will politely refrain from asking how old you are 🙂
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