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Run&Gun

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Run&Gun last won the day on August 12

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  1. You can buy “bean refills” from Cinekinetics/Cinesaddle and they appear to be perfectly round, miniature styrofoam type balls. But it seems like I remember others using buckwheat hulls(there are pillows made with them).
  2. Looks like we got our answer... Or at least an answer. They do look a little limited, though. At least on the 4K side. https://www.newsshooter.com/2020/09/16/teradek-bolt-4k-lt/ Bolt 4K LT
  3. Interesting... On their website, most of the 500 XT and 1000 XT Rx’s & Tx’s appear to all be ‘special order’, except for integrated smallHD monitors and the 3000 XT series. One would think(hope) there is a replacement line coming, because I think it would be unwise to force all potential buyers to either(only) the very expensive 3000 XT series or the very expensive 4K series. Yes, there is also the ACE series, but that is, in my opinion, sort of below entry level and very limiting, being HDMI only. But then again, Teradek is considered the high-end and there are a lot of wireless video companies out there, so it’s conceivable that they decided to only go after the high-end(more lucrative) market.
  4. Maybe not so much judging YOU, but what they're paying for. I'm sure a lot on here remember "gear lists" that networks used to publish that their crews had to (reasonably) adhere to. And corporate shoots used to be big 'dog and pony' shows, where a lot of big, expensive equipment was brought out and set-up, even if it wasn't being used, just to make the clients "feel good" about the (sometimes) obscene amounts of money they were spending for these shoots. Just like in the early days of quality handicams, like the HVX-200 and small production companies started buying them and using them, but still charging the same amount as "real cameras". Yeah, they could make nice images when care was taken, but clients didn't like seeing those little toys. They wanted the big "real cams".
  5. 1) MYT Works Large 4’ slider. Self-contained, smooth, large payload capacity, well built, easy(ish) to travel(4’ and below fit in gun cases). 2) Multi-cam interviews, occasionally b-roll, but small gimbals have been replacing sliders for the same style of b-roll over the last few years for speed(no set-up). Videographer, while a technically correct word, is a bad word and no one likes to be referred to as one*. It’s connotation and association is largely with low-end and wedding shooters from the 80’s/90’s era. I’m not a DP, but do not call me a videographer. Call me a shooter, photographer, cameraman, photog, cam-op, camera monkey, asshole, ‘hey you’, or pretty much anything else, except videographer. Or late for dinner. *Kind of like ‘police’ and ‘cop’. In some circles, cop is considered a derogatory term for police or police officer.
  6. Oh yeah, I get that. But at least they are consulting with you and giving you a choice and not just forcing something on you. If only I had taken the money I spent on my first camera package and put it all in Apple stock then instead... But it's probably all for the best. If I'm a lazy AH, now, I can only imagine how bad I would be. Lol.
  7. Most Sony and Panasonic broadcast cameras have had built-in CAC type correction for at least the last decade and they usually automatically recognize lenses. At worst, you'd probably have to load a lens file in(usually provided by Sony or Panasonic), but then the cam should recognize the lens when it's connected. Regarding the flip out, that's why I suggested the EL30 VF. It has a flip-out LCD panel on top of the main OLED body, so you can use it for the quick low walking hero shot or holding the cam over your head, etc. The images on the OLED VF's on my F55 and C300(Graticle) kill the image of my Panasonic color LCD, BUT the Panasonic is a 3.5" panel with a double action flip away Diopter for when you need to see the image and can't be in the VF. Modern s35 cameras are insane in low-light, because you can crank the ISO fairly high with little noise introduced, but they are not built to do true ENG under the demanding, unforgiving conditions that we are subjected to, so often when doing it. And the 750 looks sick... And about right back up there with what ENG cams used to cost us. I can't find a US list price, but a direct translation from an Australian list price that I did find puts it around $40K US, which lines up with a review I read that said they were upwards of $80K for one with a lens and some basic support. I think my first VariCam was sitting at at least $75K in a ready store shoot state.
  8. My .02, as someone that’s probably in a similar position as you, with widespread shooting scenarios like that, and yours look heavily weighted towards ENG/Doc, I would lean towards the 450. The ENG build-up looks like a nightmare on the 7. The only real advantages I see to the 7 are the s35 sensor for sit-downs(but if you’ll be using only an adapted ENG lens, that goes out the window, because your DoF will stay the same and you’ll lose light if using an optical adapter) and the awesome built-in, as I call it, VeND(variable electronic ND). The Fs7 will NEVER be a true ENG camera, nor function like one in actual practice. My two main cameras are the P2 VariCam and F55 and even with the excellent 17-120 on my 55, it still pales in comparison to the shooting experience and conveniences I get with my Vari. Even when I’ve used my 13x4.5 Fuji on my 55(I have the IBE optical adapter), it still wasn’t the same. Just thoughts from an old ENG guy who shoots with 2/3” and s35. Also, I’d seriously look at/convince them to get you the EL30 VF, instead.
  9. A user on another forum that I'm on that has the R5 reported that there is dual card recording in 8K RAW modes. 8K/30P RAW + 4K DCI IPB 8K/24P RAW + 4K DCI IPB 8K/24.00P RAW + 4K DCI IPB I interpret this to mean 8K RAW is recorded onto the CFexpress card and 4K onto the SD card.
  10. Not trying to be a smart-ass, but the reason you can’t find anything, is because you can’t do that. I think the closest I’ve seen to that, are some of the data transfer apps let you monitor the progress on an iOS device, but that’s it.
  11. As others have said, Teradek is more or less the standard, which means adding additional units or replacing one that may go down is pretty easy, as that’s what most rental houses will have, too. And if renting your gear out, people tend to go with the well known standards, as well. I have a 500XT set that I picked up at the end of ‘18. Tx: SDI IN & OUT, HDMI IN; Rx: SDI OUT x2, HDMI OUT. And I just added a smallHD Focus Bolt(5” monitor with built-in Bolt 500 Rx) like a month ago when B&H had them on-sale for half price.
  12. That is one of the beautiful things with Vinten's and O'Connor's, their infinitely/continuously variable counterbalance and drag. It makes operating so much easier and better when you can get it all dialed in EXACTLY where you want it, not just close. And if it makes you feel any better, my primary Run & Gun set-up (pun intended) is a Vinten 100 and Sachtler Flowtech 100 which together weigh in a little over 16 lbs.
  13. Run&Gun

    PMW F5

    If you need 4K or slow-mo, it won’t work(but you can’t do slow-mo to an external recorder either, anyway), but you can get the ProRes/DNxHD card installed from Sony and record ProRes internally. I had the card installed when I got the camera, but I’ve only recorded ProRes a handful of times, because eventually people figured out how to edit without it... (insert sarcasm and eye rolls). One of my friends used to always get digs in on producers for this client we had that always used to ask for ProRes. He’d ask them if they wanted him to take them to the middle school next to his house so the 7th graders in the production classes could show them how to edit any codec/format, not just ProRes. I always found it amusing. Kids with laptops could do anything and this TV network with millions of dollars worth of editing equipment and professional editors couldn’t handle non-ProRes codecs. Also, ProRes will take up more space(data) than XAVC with no visual improvement.
  14. I never thought about the SLC being "in the way" either, until I got a chance to try the one on my buddy's rig. I have no idea about the the threading on the Sachtler's vs. the O'Connor's. You can probably call them and ask. Maybe... Vinten has this super weird(double thread) threading that NO ONE else uses. I had some custom super low-profile tie-down knobs/clamps made years ago for a hi-hat and I called Vinten to get the specs for the machine shop and their techs couldn't even give me the correct info. I ended up having to leave one of my heads with them for like a week so they could figure it out. They ended up having to special order the tap and die tools to make them. Cost me a boat load by the time it was said and done and then I ended up never using them.
  15. True. I was applying my criteria for my cameras. The OP may have a rig that fits easily within the payload capacity window of the 15. I like to have a fair amount of headroom and I'm typically between 25lbs-35lbs. Probably less if I'm shooting with a prime on my 55 or 300 and more if I have a Varicam rigged out for a live show.
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