independent

Interesting. What "sets of Netflix series" have you have worked on that used easyrigs?

All horseshit and misinformation.

What shows or productions have you guys worked on that use easyrig so extensively? I'm curious because the idea that most DP's are using easyrigs over traditional camera support comes across as such strong horseshit, I can't believe we're still talking about it. I'm almost certain that some of you are mistaking DP's for camera operators, and among camera operators, a very small minority. And of all productions, I would imagine easyrigs to be mostly limited to documentary, live events, and reality shows. And among them, only a minority.

Pocket 4K is an incredible value. That being said, the pocket 6k can be a worthwhile upgrade - it was for me. The increased amount of detail (more than double the pixels) is not trivial. If you have a 5K monitor you can see the difference; the pocket 4K looks soft and slightly out of focus in comparison. The low light is also noticeably better. The larger sensor helps, but 6K downscaled to 4K really reduces noise and gives you a much cleaner image. You can get a Speedbooster for the 4K, but that brings the price close to the 6K. Of course, some complain about the lens mount, but I haven’t found it an issue considering the availability, range, and variety of EF (and EF-S) lenses from various manufacturers. I’ve found the Canon 10-18mm and 18-135mm nano usm to be great lightweight, affordable, stabilized lenses. For fast and wide, the sigma 20mm 1.4 has been stellar.

And I think that's really odd. "Most guys are using an easy rig more than a tripod or dolly on dramas and commercials?" That runs entirely contrary to my experience in the past six years on sets and locations around NYC (Brooklyn, queens, Manhattan). This ranges from productions from Netflix, HBO, A24, NBC, etc. to smaller, independent shoots. And a TON of commercials. Dollys, cranes, jibs, sticks, dominate shoots. If there's handheld, most of the time it's on the op's shoulder w/ AC pulling focus, and if there's tracking, a dolly grip behind the op. I don't think I have EVER seen an easyrig on any of these sets. I've seen a handful on documentary (I think Vice) over the years, but that's about it. I don't even see them on the music video shoots; I see way more gimbals or just handheld. For news gathering/event shooting, I see shoulder mount, tripods, and monopods. That's just my limited experience of course, but you might want to ask any grip, DP, or operator about the easyrig phenomenon taking over the world. On that note, why would so many Australian DP's own those two things (and just those two), an easyrig and smallHD monitors? I can understand a freelance camera operator perhaps owning one as a wet hire, but why would so many DPs? The production wouldn't provide a monitor and camera support for them? “We’ll bring the Alexa; you bring the easyrig.” ”P.S. don’t forget the SmallHD monitor.”

That’s remarkable. You see more easyrigs than tripods and dollys? Where are you based?

Some don’t show symptoms, so why take the chance? Don’t shake hands with anybody. Or make out with them. Definitely none of the old in-out.

Ironfilm, sure your height issue might be a good reason to go for the easyrig. I’ve seen them used sometimes for doc/reality, but other than that, not really. And really, you see them on sets all the time? Really? I don’t. I see standard sticks, dollys, cranes, etc. These shows aren’t being shot on easyrigs. You should talk to grips or anybody from the camera department...the overwhelming majority of handheld shots are still shoulder-mount. Where do you work, Sweden? 😀

It's 2020. Live streams.

Enjoy your easy rigs! Not for me. I don't see them as default anything here in New York City.

I just think the easyrig doesn’t do enough and is often more trouble than its worth. Want steady shots with pans and tilts? Sticks. Four points of contact and a dynamic look? Shoulder mount. Redistribute weight and get smooth shots and movement? Steadicam. Sure, there are some (very specific) situations where they make some sense, and a few DPs and operators do like them. But in my opinion, there are generally better, tried-and-true options. Hell, Christopher Doyle shoots with a pillow, so whatever floats your horse in the shed.

The dodo might be just the right bird to catch a 200mph hare.

Watch those doorways! Yes easyrigs do take the weight off, but...that's essentially it. They don't do much to cut out jitter, shake, or vertical movement. I do hear good things about the Serene arm, but at that point, I'd go for steadicam. If your setup isn't too heavy, and I'm always looking to go lighter as a single operator, I greatly prefer shoulder mount with built-in stabilization. Just more intuitive, greater control. But if you're way north of six feet tall...you should probably quit the camera department and do sound 😉

You guys also left behind the 1DX III.

I don't think the C300 crowd would really demand RAW or 6K (cumbersome workflow, storage requirements), those would be more for narrative, creative projects. That crowd would prefer efficient codecs to accommodate news gathering, live events, reality/docs, etc. I also think that's why IBIS would be key for them. Goodbye easy rigs! And the full frame would be important for light-gathering in uncontrolled environments and flexibility for focal lengths in tight locations.

Canon should update the C200, which unlikely was a hit, with 10-bit codecs. And add IBIS and the RF mount. At around the same price (or maybe slightly cheaper). I think they would move some units.

However, there is a gap at $10K market, the C300 II, Sony FX9 for documentary, news gathering, etc. I bet: 4K full frame (supersampled 6K like the Sony FX9 ) with high frame rates at 10-bit codecs to protect the c500 II. RF mount, which will push the pricey lenses while still being easily adaptable to EF. IBIS they've been working on in the R5, which will keep it competitive with the FX9's gyro.

So people want a c300ii for the price of a c100ii and call it a c100iii.

Sure. I got mine from powerextra's distributor out of California. https://www.ebay.com/itm/2x-6-6Ah-NP-F960-Battery-For-Sony-NP-F970-NP-F975-NP-F960-and-Smart-Phone-w-USB/264401969297?ssPageName=STRK%3AMEBIDX%3AIT&_trksid=p2057872.m2749.l2649 I forgot to also mention an even easier option that doesn't require an added battery sled: If you're using a monitor that uses Sony NPF batteries (most do), Just insert this battery into your monitor, and use a DC to Weipu cable to your Blackmagic 6K. There's several cables there, but this was the cheapest one from B&H (happens to be from Tilta): https://www.bhphotovideo.com/c/product/1490898-REG/tilta_ta_t01_dc_pc_bmpcc4k_5_5_2_5mm_dc.html?lsft=BI%3A514&gclid=CjwKCAiAhc7yBRAdEiwAplGxX5GicoBgFbqupXftJu6FVUTH8u1sX77KOUconCCKg48txkKYubcqOBoCEN4QAvD_BwE

I've found the best (cheap, light, etc.) solution is the Tilta Sony F970 battery plate. I mount it on the top right side of my SmallRig cage, above grip (buttons are still accessible). I use 6600mah "Powerextra multifunctional" batteries that are $20 each on eBay. I bought four and I don't think I ever used a third on a shoot. These particular batteries are useful because they have a USB-out and DC-out, which can power a monitor. I also got great audio straight into the phantom powered mini-XLR and 3.5mm audio jacks. Curtis Judd has a video on it. I've used wireless receivers, shotgun mics, etc. all with clean results. Make sure your settings are right and you feed it a hot signal (the new Rode NTG5 is great: light weight and hot). That is a major plus, to not have to mess with a separate recorder or mixer. If you have a relatively simple shoot, you can keep the package compact, light, and cheap.

The pocket in a cage just makes it a box. From there, the retardedness is on you.

Sony was close with the A7III. All they need to do is add internal 4K 10-bit 422. And incrementally improve all the other features. Even if their next model A7IV or A7SIII doesn't offer 8K, it can compete on price ($2K). The Canon R5 might retail close to double that. All things being equal, image quality is close enough among camera brands of the same class. The difference is features. Internal quality codec, autofocus, IBIS, rolling shutter, articulating touchscreen all have to be good enough. Unfortunately, right now, everybody has to pick his own poison. For example, Panasonic S1H is an exceptional camera in many ways, but the $4K price, inferior autofocus, L-mount make it a nonstarter for me, and I'm guessing, for many others. Whether it's R5 or the R6, Canon seems committed to offering a complete package, and other manufacturers will undoubtedly follow suit if they want to survive.

Of course, everybody has different priorities. But I specifically stated the A7 III was remarkable at the time for how complete the feature set was - including price. The A7 III was successful for one innovation only: comprehensive features. Every camera will have its fans who prioritize or fetishize a feature. But the most successful will have the complete shooting package, because that's what the general market is looking for: utility. The R5, 8K marketing gimmick aside, will live or die on the same.

There's a good chance. Precedence in the 1DXIII, which oversamples the 5.5K sensor to 4K 10-bit 422. 8K will be heavily marketed, but likely 8-bit, 24/30, cropped, and perhaps some features disabled as in the 1DXIII.

Maybe too incremental. 8K is definitely next for Blackmagic. Unlikely they'll be able to keep up with the competition in terms of autofocus and IBIS, but they should be able to put in an articulating screen and redesign the awkward body. It seems all roads are leading to a boxier body that is more rig-friendly. They should still have their competitive advantage in recording formats, resolve, and price. 8K BRAW/Prores for under 4K, optimized to cut and color in Resolve.