M Carter

Thanks, it was a lot of fun though post really was a beat-down time wise. Still kinda torn about the Z6 or the Fuji X-T3 with its 60p/4K 10 bit and H265 bit rates, but my guess is I'll grab one by spring and still keep the Z6. Already having some Nikon glass made the Z attractive though, but if I keep getting music video bookings, the Fuji would really be handy for cleaner slowmo and efx shots. My next purchase will likely be the little native kit zoom in the Z mount, the 16-50 - looks like that would be a great gimbal lens with the camera set to APS-C.

Thanks - it was shot 24p greenscreen, in my tiny studio space. I shot it 24 to synch the vocals, when we shot it I just had a rough visual idea and had done zero tests for style, in fact I didn't decide to posterize the time for a "stop-motion" ish look until I was well into it. I edited/delivered 1080, since I relied on slow mo for most of the girl's scenes. If I'd had more time, I would have worked more on the time effects to see if I could get a better sense of synching, but this went from "can you shoot a video??" to delivered in like 9 days, much of which was spent trying to find a model for the budget! The post work was really immense, every character shot got a color pass for the final animation color-look, a pass to make footage that then got more of a "line art" pass, and a mask pass (just keylight - the Z6 keys REALLY nicely, even right off the card - I have the Ninja but I skipped it for the girl since the Z won't send 120fps via HDMI, even for monitoring). I shot most of it with a Kessler crane with the 5' setup, on wheels, just to quickly configure shots - it's a really fast way to work. Most of the elements were photoshop, I had a few images left in my monthly shutterstock account, and I have a big library of skies and textures, and then image-search-swiping to the rescue! Some photos, some just digital paintings, some a mix. The gears and picture frames were done in Daz Carrara, a POS aging 3D software that I've used for like 12 years. It has zero AE integration, but since this was mostly static shots using the 3D camera in AE, I just did a pass with camera trackers pasted onto planes to get track data for camera moves, which were all just simple pull-outs. (I really really have to learn some basic Cinema 4D, don't I???) (Imagine what we could accomplish if we didn't need sleep!) Anyway, it was supposed to be "just shoot the guy and, I dunno, float some pictures in or something", but I feel like most rock covers are "why did ya even bother", but I felt this was a nice take, gave a different angle to the song, and the singer's become a good friend over a few shoots. Overall pleased with it, The Cure songs to me are sort of "dark fairy tales" and I wanted something that felt almost like children's book illustration. Hope it gets a zillion views!

(OK, I could have shot this with about any 4K camera, but... it was a shit-ton of post...)

Yeah, overall I'm pleased, but man, the simplicity of working with the NX1 will be MISSED. I'd go on about what the NX2 coulda been, but I'd just sound like a grumpy old man. And for 80% of what I do, it kicks ass, but I need to streamline my stuff and I worry about a 3 year old body (though it's functionally and aesthetically like-new at least). I did find how to set the shutter for video, so I'll get a wired remote for rigs. For me, the most kickass thing about the NX1? Stick it on a gimbal with that $150 kit zoom (16-50 OIS), turn on the AF, and just run around a factory or shoot a music video - the AF really rocked. But then, shooting NX1 in an industrial setting at 1600 ISO could be a tad rough, but I used to drag an 8' Kessler crane to those shoots and, no more. I could get 5 to 10 shots in with the time I'd do one with the Kessler, just an astounding combo. It's the only NX native lens I got. F me but I hope the 50 can compare. This is one of the last "cool" things I shot with the NX1; no budget, no time, just show up and throw something together... got a couple hours, did takes with the gimbal and then shoulder mount with a big Nikkor 28-70. Had no "concept" ideas so I did takes with shitty magnifying glasses taped to the lenses, hung a big velvet drape and 2 lights, and a lot of just running up to the subjects - like running - with the gimbal. I grabbed a couple props when I was running out the door (a chair and a big book). Effin' nuts, and you can see the issues with 8-bit and blown highs, but looks kinda harsh and cool. Yeah, I'll miss ya, kickass little camera!

Well, I did it, NX gear will be up for sale before long. I've shot Nikon since the mid-90's (man, I still have film bodies with forscher Polaroid backs on 'em)... so felt like a good choice, and I'll likely dump the DSLRs when I get some time. But the NX1 as a video cam has been a fantastic camera for my work, commercial & nonprofit marketing stuff. Looks amazing with all my old and new Nikkors. I even shot it with 1960's Canon FL glass which was really pretty. Did a green screen shoot about 2 days after I got it - just enough time to figure out the menus and customize things up. I ordered a Ninja V but it's just arriving today. So some thoughts for those on the fence... For the same $$ as a Z6 with adapter, there are deals with a 32GB QXD card, adapter and a decent little bag you'll end up using for something... Adorama's deal has the nicer bag, a rectangular Lowepro 160 (seems like a nice one for storing the Ninja, drives, batteries and cables actually) vs. BH's consumer-ey oddball bag with weird flaps and shapes. Basically you get a $130 card and a (quite nice for the size) $50 bag in the deal. I may return this Z6 - the card is VERY hard to get out, it takes several pops in-and-out to free it up. if I do, I'll probably get the kit with the 24-70 F4, it knocks $500 off the lens price. Overall it's quick to make the change, and doing a for-realz gig is a good way to make yourself adjust to a new setup. IQ right off the card, tweaked FLAT profile - I'd say it beats the NX when you get the sharpening dialed in. A more "organic" look, but the NX1 had a really nice look as well. Flat-card footage converted to ProRes HQ keys like a mofo - really nice. I've been keying 6K RED footage for the last few weeks and man, the Z MOVs are keying quite well. Psyched to see what the Ninja will do. The jump from 1080 to 4K with the NX1 upped my keying considerably, but the sharpening/compression made it difficult, always a funky border to deal with. I'm really impressed with the Nikon for very clean keys at ISO 800. Basically no video AF with the adapter and a huge 28-70 2.8 "S" lens; photo AF is good with it. Don't need AF except for gimbal work, but thinking a Z50 and the little zoom will be a better choice for that. Next purchase for me. I've never liked Nikon's custom white balance setup - too many steps to remember, you have to activate a saved WB, etc. The NX got this smashingly fast and right. Hell, I have shoulder-mount Panasonics where you just press a dedicated button and you're done. No idea why Nikon still makes this more hassle than it should be. If the HDMI is setup for the Ninja, a non-recording external monitor works but you can't record to camera. So stick the HDMI setup in your custom menu if you shoot to card with a monitor often. It's probably the 10-bit setting doing that, but if you record to card with an external, MAKE SURE YOU SEE THE RED DOT!!! Why can't I delete all those bullshit color setting like "pastel" and "fantasy" and, I dunno, "German Schiester Porn Brown"??? I have to scroll through all that crap to get to my settings. For stills, I love the mirrorless - shoot and see the pic in the VF without looking down at the screen. Loved that on the NX - on the Nikon, there's a delay before the still is displayed. Pretty sucky, the NX was instantaneous and it was easy to get in the rhythm of half-press to dismiss or shoot fast enough where it's not an issue. The Nikon is a big step down there. The video image on the LCD is kind of soft compared to the NX1. Two shots in and I had to run the card to the computer and verify it was tight. I'll get used to it I suppose. And I like shooting MOV for quick viewing on the desktop, but I miss the big bit rates of the NX's H265. Well, the Ninja will help... Nikon has ditched the "trigger video with shutter button" menu item, which was a huge help for cranes and rigs; simple wired remote vs. messing with devices and bluetooth or whatever, easy to solder up a long remote for ceiling rigs and long cranes. Another big suck. For video, it's either peaking or zebras - can't have both. And while I like that the i-menu has video and stills versions, there's some glitches - editing the menu doesn't always take. The Z rejects my aftermarket batteries that worked on DSLRs; looks like the Asians have caught up with that though. I guess I'll be selling a pile of batteries with my DSLR... Other than that, IQ is that very nice Nikon look with lots of control in the camera when you want it, and the flat profile is really fine for most corporate-style grading you'll do in post - the Ninja doesn't seem really 100% necessary other than you'll come home with ProRes (unless it's the corner-office shoot with the windows blowing out... bring the Ninja and some HMIs...) I'm happy with it, and the introduction of the Z50 really makes sense for a 2nd camera, too.

I'm assuming the negative comment was more about production? The OP video (to me) looked choppy, sort of TV-soap-opera-ey, lots of over-saturated shots; really "video" look, when these days it's gotten really easy to do something a little more "filmic", which would suit the scenics and people much better. Just my .02, really has nothing to do with the subject matter.

While that lens is impressive, if I were doing editorial stills at an event like that, practicality would probably cause me to choose some sort of 70-200 2.8. the framing control of a solid zoom seems like I'd get more shots. I'd gran that 200 for fashion or editorial portraits every time though... And the NX1. Damn, 6 years on and it's still kickass. The tiny 16-50 kit zoom (not the bigger "S") makes for a monster gimbal rig with reliable AF. You can literally run around a location with that thing and nail 95% of your shots. I do find the 8 bit pretty limiting though, and the low-light performance isn't stellar. There's a Z6 in my future. We'll see if I keep it though!

So you're saying you don't believe Nikon will release the battery grip they've announced for two of their full-frame pro bodies? Like, are battery grips that rare in the market for full-frame cameras? The Nikon MB-N10 battery pack for Nikon Z mirrorless cameras has been registered with the Korean Communications Commission, which suggests it will have some sort of wireless or Bluetooth connectivity (the registration is for communication-capable devices). Both Atomos and Nikon have announces ProRes raw from the Z cameras to the Ninja V. Talk is indeed cheap, but two major companies partnering in R&D, showing demos and announcing it will be released is kinda-more-than-just-talk. Just be prepared with a cool drink and a chair when the grips are released though, we don't want you going into shock!!

All good news for the Z. By the time I'm ready to pull the trigger I should be able to rent one for a few days and try it out. I don't use grips for video but I do for stills; the Z grip is in production, Nikon says it will be a dual-battery grip - not sure what you're thinking?

In decent light, it's really something - at least with the tiny 16-50 kit lens - I generally use it on the 16mm end so granted, it's not a lot of work for the AF, but still... shot a music video last week and I used the gimbal to basically do a dolly shot, but I RAN from 20 feet away, right up to the singer. Nx nailed focus the shot is just "WTF?!?!?" My main-squeeze Nikon lens for video is the huge old 28-70 2.8S which should work fine on the Z adapter (but it's too heavy for how I use the gimbal). I'll probably spring for the wide Z zoom as I don't have a really wide S lens. If I'm not on the gimbal I'm using a follow focus though, and I have some really nice screw-drive and AIS glass. I get a lot of stills work with my D7100 (AF) mixed with the NX1 (Just stick Nikkors on and shoot manual), so if I go the Z route I can sell both bodies and put it towards glass. And man, Prores and Prores raw with an affordable recorder - if the AF performs for me, this just covers so many bases, as I keep thinking of buying something like a BMC for higher-bit shooting and just keeping the NX for corporate gimbal stuff.

So later this year, it's time to replace my NX1 with… what?? I do lots of industrial/business/medical stuff, talking heads in the office, then manufacturing or process in the big facility - a music vid every month or two. One-man-band. It's a great gig, I'm happy as a clam. The big NX1 game changer for me has been video AF on a gimbal. Never thought video AF would mean jack to me, but the NX1 with the cheap little OIS kit lens is the biggest game changer I've encountered in a decade of doing this. I can literally run around a factory and get killer shots. Clients think it's drone video. My killer-shot-count has gone through the roof - hardly ever bring the Kessler crane any more. I can try a dozen angles and moves in the time it takes to set up one crane shot. I can play that rig like a guitar. On a tripod I use Nikkors, the footage is beautiful. But the NX1 has its cons: no Prores, no RAW, blown highs, noise at higher ISOs. 4K@ 60p would be nice. I have tons of lights for interviews/planned shots, but too much of my work is in dimmer environments. The Nikon Z6 sounds like a no-brainer - but it sounds like I'd take a big step down in the AF I rely on for motion shots. So what would you do? What's the best in mirrorless AF these days? (I love the NX1 EVF for shoulder rigs and no fiddling with an external - I'll never go back to a DSLR). I'm really happy with APS-C, full frame would be fine for me though, not thrilled with smaller sensors, but for my AF shots I'm usually pretty wide, so I could go smaller sensor with a native lens. What's out now, what's coming down the pipeline? Thanks for any ideas.

Seeing how this thread is populated by many NX users... what's next when the gear begins to fail, gets damaged, etc? For me: 4k for 1080 delivery is a massive editing gamechanger for corporate interviews; the NX1 4K works fantastically for this use. Footage is very clean, and I've grabbed B-roll in factories and offices up to 2000iso; sometimes needs NR that high, sometimes is fine - 4k to 1080 often solves many noise issues. APS-C looks fantastic with my Nikkors and even antique 1960's Canon FL primes. Really dislike going smaller sensor. AF with the kit lens is pretty amazing on gimbals and steadicams. Another huge game changer, my Kessler/monitor setup is getting dusty. I can knock out ten b-roll shots where I used to get one out with the crane. Fantastic stills camera for well-lit shoots; the EVF just kills for fast-moving action stills or changing light. Fantastic camera with studio strobes using the EVF and Nikkors, screen set to "framing mode" - when there's enough focusing light. In dimmer situations with packs and heads, Nikkors are a no-go if I'm shooting 5.6 or slower. Don't have one of the fast native zooms, but plenty of Nikon bodies for those situations. Still on the fence about finding the 50-150, it's still a pricey-ish lens, but would make the NX more useful with still gigs. But I do mainly video. But then when I do stills, I get hired for really tough gigs, lighting big factories, 5 packs and a dozen heads, stuff like that, so the more tech, the better. The main things for me are APS-C, that crisp 4K, 60p and 120p available, great for nonprofit/hospital kids/drama - and truly functional AF on a gimbal. The biggest issue for me is I'd love some Sony-level low light capability, that stuff is gorgeous. Wouldn't mind 4K at 60p, too. I could consider full frame, not excited about 4/3. Maybe I should be. So if my NX gets stolen tomorrow, what would make me a happy camper? Used NX? Sony-something? GH5S?? (My next camera may be the BMC 4K studio and a 4K recorder, for higher-end gigs and keying - but that's another shooting scenario, I'd still use the NX1 often).

Everything I own has a custom WB button - even Nikon DSLRs do, but it's a little bit hidden. Keep in mind that custom white balance is different than just setting a Kelvin color temp (orange-blue axis) - it also adjusts the tint axis (magenta-green) and is far more useful, though I tend to keep an old 82A filter handy and balance through that to push the look a bit warmer. You can use a scrap of 1/4 CTB as well.

I think you need to think about how you're defining "video" for this discussion. Kids are sending video messages with vertical framing, they don't care about bitrate, color rendering, how far the footage can be pushed, frame rate, color depth, or what the actual resolution is. "Staying behind" for a phone is a completely different thing than "staying behind for a semi-pro stills product you also want professionals to be able to shoot video with". Both phones and prosumer stills cameras have added video on, but beyond that your comparison doesn't seem to have a thing to do with this discussion. If the D7500's video sensor and specs appeared in a phone with HDMI and headhone and mic jacks and zebras and audio controls and so on, we'd all be freaking out about how amazing and forward-thinking it was. And 99% of kids would't even know what all that stuff means.

Hey, I agree that people "demanding" Nikon release something like an NX1 or GH5 don't realize what a niche market they are. That said, I make my living in good part from corporate videos. Gigs in the range of $2-$5k. I shoot 90% of that stuff with the NX1 and Nikkor glass. If I have to catch some sort of live event stuff, I take a shoulder mount video camera. I read all of these new camera announcements, hoping something will come out the beats the NX1 or will be there when it finally dies. I don't care what an aging German TV guy says, I do work that clients love, they feel I overdeliver, and I use the hell out of the NX. 4K is an absolute gamechanger for interview gigs with 1080 or 720 delivery; I had no idea how useful 120fps would be for b-roll, manufacturing, emotional stuff, and shooting plates for effects and so on. Sure, it's imperfect, I'd be jazzed with a wired remote trigger for crane shots (I hear it's in one of the hacks) - but there's no "perfect" camera. The NX1 might have made it if it came with a Canon strap - the freaking strap is the #1 accessory for consumers that buy $1k+ cameras (that's why I use 1970's hippie straps form eBay). I've shot Nikon for stills for 2 decades professionally, nothing since the D7100 has made me itch to upgrade (but F me, the NX1 is a hell of a stills camera and I only put Nikon glass on it - I'll skip AF to have that amazing VF that shows what my exposure looks like. Game changer for me as a stills guy for sure. Raw IQ is dynamite). When it comes to digital stills, times are very very good indeed. At least Panasonic is trying to deliver a good 4K camera affordably with the GH5 (not thrilled with the tiny sensor myself). Ever since we all breathlessly awaited the D7200 (and watched that bubble burst), I don't think we should be expecting anything amazing from DSLR-form cameras (and yet Panasonic is offering higher bit rates to card, no idea how well implemented though). The BM micro is interesting to me, but the feature list I get with the NX1 seems yet to be matched in full, in one package - and yeah, I wouldn't shoot a broadcast spot with it that needed high-DR outdoor shots, but it checks a lot of buttons for me. If a camera that competent and forward-thinking couldn't make it on video specs, I don't see a lot of hope. Nikon and Canon heaved a big-ass sigh of relief when that died. The photo market is in a panic-driven tailspin and the water's not gonna clear any time soon.

This. The NX1 showed what could be done. Yeah, it's flawed in some ways, but for a first time outing, it's one badass camera. I actually own a Nikon Super-8 camera. For the era and the media, it's pretty badass. Great mix of value and features. Nikon could easily do a sub-$2k cinema camera. Not holding my breath.

Hell, just paying for RX5 is no fun...

I'd say if you can get your hands on one, try an AT4053b. Pretty remarkable mic for the $$ ($599 new, they do show up used). They're a popular studio mic for some so there seems to be more of them around. Hyper, good rejection and natural rolloff off-axis, nice warm-full sound with some "sparkle" to the highs. Popular when sound guys suggest a first "pro" microphone. None of the handling issues you get with the Oktava.

With the Dr 60D, it's either phantom or mic power. OST makes an XLR barrel-extension type thing that drops phantom to mic power for about $100. One of the big names (AT? Rode? Senn?) makes one but it's like $175; there's also an eBay seller from Britain that makes one for about $65 (bought one, works great). Need to make sure that what you get is wired for your mic though. I feel ya, if you're one-man it's tough to deal with wireless with confidence. I tend to skip it whenever possible, an XLR-to-lav power solution is a great thing to have. I like the idea of using that Tascam belt-recorder and feeding the phones jack to a wireless to send synch to the camera though, seems like that could work very well when you just can't use wires and the camera is too far away for confidence in catching synch. I'd really like to have an assistant in charge of shutting the tascam on and off though, vs. having an hour-long audio track. But Plural Eyes doesn't give a flip about that sort of synch issue, it'll deliver the goods just fine regardless of audio track length. Interference and handling noises are two drastically different things. Interference has to do with how crowded the spectrum is where you're shooting. Pro-level wireless has methods to check for empty frequencies before you begin shooting, which can help a great deal. Handling and clothing noise is about technique vs. user error.

I've been on shoots with cheap wireless and lots of problems. Even the Sennheiser G3s can get the occasional interference. My personal rule is "wireless only if you absolutely need wireless". If you want a really high-end lav solution for mid-level bucks, get an OST lav (they have a tiny button lav you can hide in a tie knot, and two side-address omnis, one has a treble bump that's nice under clothes) and their XLR barrel converter that takes phantom power from your recorder and converts to mic power, so you can use your lavs direct-wired, powered, and all-balanced XLR from mic to recorder. It's especially handy if you use a hyper on a stand but also want a lav, you don't need a mic power solution while using phantom (or if a shoot is going from lav to stand to lav, no messing with mic power settings). $200 or so and the OST stuff sounds like mics three times the price. There's one of those in my future for sure - it's a great idea, and I'm really pleased that (a) it has a headphone jack for initial level checking and (b) it's sennheiser wiring, so I can dump the (probably pretty cheap) included mic and use something nice. if there's a level control for the headphone out, it would likely be easy to run that into a wireless transmitter to get a synch track, for times when the talent is far from the camera. Two bodypacks on the talent (the recorder and the transmitter) and a short 1/8 jumper, but that's really not a huge issue, especially since the synch track doesn't need to be stellar quality. I've run music video synch from mixing boards to a G3 system with no issues.

Man - so how does one synch in that case? The Canon sends just the video to the recorder. So you need an external recorder for audio. But the footage has no audio. So - time code? Clapper boards and prayer? Or can you record to the camera card as well, synch that, and then replace with the recorder footage? And is sending a 4-2-0 signal to a 4-2-2 recorder worth all that hassle (sure, it can record 4-2-2 but it ain't getting 4-2-2)? Can the average viewer even see a difference? Or is your goal to leave the set with ProRes ready to go? And I gotta agree, plugging a 1/8 mic into a DSLR, yet thinking an HDMI recorder is your next upgrade? I'd look into an audio recorder first if you want to upgrade what you're doing. And maybe look into a "shotgun or lapel" that uses XLRs too. I've found the camera out of my audio recorder (which has its own output level) into my camera via 1/8, often saves me from synching if all the gain is staged correctly. The preamps in the recorder really make the difference (and using quality phantom powered mics and good cables - this has been true for Nikon and NX1 cameras). I still have the recorder card if I need it, and the -6DB safeties, but I don't always need to synch. (Though I usually just throw everything into PluralEyes and go make some coffee or a cocktail. The Tascam recorders have been shipping with a free copy of Pluraleyes, nice bonus and PE now outputs ProRes).

HAs Nikon ever made a 28 that comes close to the AIS 2.8? That thing is a legend.

I've got a feelworld (branded "SeeTec" but the same thing). I've used it once or twice (I shoot in Texas and it's been helpful outdoors). Used it for crane shots, stuck it on its own stand. It's worth about the $175 they ask for it. Distorted, wonky color, typical "wow, everything's in focus, I had no idea" peaking. You can do accurate work with it, but if you're used to a modern electronic EVF (Damn, the NX1's is awesome) or even a decent one (like on many video cameras) you'll have to wrap your brain around it and be sure of focus. All you guys wanting a thousand-nits-super-bright OLED you can see with the noon sun behind it and light cigarettes off the screen... would be awesome to have, maybe we'll see more things like that, but that's where an EVF really, umm, shines. Except for steadicam anyway. A decent EVF with SDI and HDMI seems like something fairly future-proof that would outlive a lot of gear and allow you to rent all kinds of cameras. I bought the headset parts for a nightvision scope and started messing with 3D printing to get the feelworld mounted to my head, never completed that wackiness. Thought it might be a decent steadicam-in-sunlight solution if I could find a way to keep the cable from messing with balance. Wireless HDMI could make that work I suppose. May sound nuts, but man, steadicam at high noon around here - that's a lot of crossed fingers as far as focus goes. Can't believe there's not already a wireless, head-mounted viewfinder for outdoor work on cranes, rigs, drones, etc.

I've been really pleased with the DR60D, original model. I've tested the hell out of it, a lot of my audio goes through pro tools and haven't been disappointed. I run a good mic into it (AT4053) and overall, getting really crisp and present, punchy dialogue. I'm not really a pixel-peeper of audio though, if it sounds good it sounds good. I've stuck in in an audio bag and had guys boom with it, no issues - it's not an awesome form factor but man, for the bucks, been really happy.

I generally use a small monitor and for critical setups, I use the camera's LCD for framing and color, and use the montior at 1:1 with peaking on, and look for eyelashes/eye catchlights/pores/ to get best focus. Most people seem to have found that even if a recorder can do 422, if it's getting 420, the benefits aren't always worth the extra gear and cost and hassle. Metaphor alert: I can record a tiny AM radio into ProTools with an Apogee preamp and killer mic - it's still gonna sound like a tiny AM radio. The recorder isn't getting a raw signal, it's getting a visually-compressed feed that hasn't been compressed data-wise. Yep, NX1; it's on a set of rails I cobbled together out of various bits - I really want two risers from tripod-to-rails and two risers from rails to baseplate - I find heavy lenses cause the whole rig to sag with just one riser, which is a nightmare. It has a Manfrotto 577 QR on top - everything's manfrotto QR so I can pull the camera from the rails (steadicam) or stick the whole rig on a crane or slider. The rig itself is 577 and the camera is 577'd as well. I can stick front handles and shoulder mount on it in a second, too. Decent 2-stage matte box without the flags that day (that Matthews flag in the shot was blocking the LED hair light from hitting the lens); Fotga DPII follow focus (amazing value, that thing!!) with whip, Nikkor 28-70 2.8 (known as "the beast" in some circles) with a rubber hood - I use rubber hoods vs donuts or knickers, very fast to squish 'em against the matte box. if I'm doing focus pulls, I add a lens support and "lift" the front of the lens enough to kill any play - DSLR lenses tend to jump up when you start a follow focus pull. I use a 90° rail block and an extra piece of rod to mount the DR60 next to the camera, found a 1/4-20 adjustable rail piece on eBay that lets me tilt the recorder. The recorder has a 90° headphone jack extender to get the headphone cable clear of the recorder controls. That's an Anker USB battery which powers the DR all day. The monitor is a Marshall 5", has 1:1, peaking, and blue-only to check color with a source of bars. The mic is an AT 4053b in a Rode blimp. Killer mic, really detailed and worth every penny vs. a Rode or cheapie. Tons of presence. I use an XLR on-off barrel switch to get the mic right to the front and gain a couple inches (the blimp is expecting a shotgun...) I don't use a cage, don't really need to bolt the kitchen sink to my camera and I like to be able to go from tripod to crane to steadicam very quickly. I have a simple railblock cable lock that holds a short HDMI cable and a short 1/8 headphone extension, so I plug the monitor and camera-synch-audio into those vs hunting for tiny ports with a flashlight, less cycles on the ports, protects from snagging, etc. I really try to minimize change-up time. Tripod is a Manfrotto with 503 (no panning at this gig) - it's taken a hell of a beating from sticking an 8' Kessler on it for years and will someday likely explode in a pile of springs and oil, but a decent head. I have a couple smaller tripods as well, nothing super-pricey (I got my film-school son one of those "fancier" fluid tripods... and then got myself one, amazing for $150 or so. Still want to get a sachtler or something...) Cases are ever-changing and I pack per-gig to try for the "one cart in" thing - pelicans, eBay pelican knockoffs (saves some bucks!), and I got an amazing deal on a used 4x5 view camera custom case that the entire rig can go in, completely assembled, with room for 4x4's and lenses and so on - AWESOME to just lift the rig out and click it onto a tripod and roll. It's a very big case though so only goes to bigger gigs. I have a wheeled case from Cool-Lights that was the only thing I've found to reasonably pack two quad biax units, or one and a bunch of stuff. Generally takes one quad and also the HID softbox and ballast stuff, I know when I walk in if I need the bigger kick of the HID. But the quads are just the shit when 1k will do, I use metal binder clips and stick a sheet or two of diffusion across the barn doors, instant softbox - in fact, the barn doors will fold up with diffusion clipped on, talk about fast! it's not a "real" kino and needs 1/4 CTB and 1/8 minus green to hit clean 5200k or so, I just leave that on. Lately I've been thinking more about popping faces from backgrounds - if there's a window with greenery, say, I'll put more magenta on the key and manually WB - the camera kicks up the green, and since the BG isn't affected by the gelled light, it gets greener and more saturated in the greens. You'll blow the gag if your key hits other visible stuff in the shot, but overall, I've been working on cooling down backgrounds more, since faces are warm-toned - gets more pop, more 3D look, and our brains tend to say "warmer=closer, cooler=distant". If someone is really pale, I might go the opposite, bluer key and the BG gets warm. Sometimes I manually white balance through1/4 or 1/8 CTB (actually I have an old 77mm camera filer that's very mild cooling and use that) which slightly warms the whole scene. Kind of feel like that's me "next step" for some of this stuff. Whew, hope that helps!