Subscribed after 2 minutes. A true videographer who shows his work instead of talking about gear and stuff in a cozy studio with not much to back it up in actual work.
Keep as a hobby but whatever works best for you. Appreciate your frankness and no BS comments, if you make it a ‘equipment review channel’ then those will suffer. If if become a drudge then stop doing it. Regards, Charles
Keep making videos as a hobby, we your audience will adjust to that. Thank you for sharing I enjoyed watching you work and just hearing your thoughts on your gear.
The "gear reviewer" question is a good one. I think people (such as myself) value your gear opinions because you are a working professional. For example, when you deep-dived into your Burano setup when you first got it, that is great information and gives me ideas about my own rigs. The trap is that if you go full-time gear reviewer, you stop doing gigs and lose the valuable real-world experience. But looking at the TH-cam landscape, gear reviewers seem to do well. There is no right answer.
For what it's worth, I hope this does't take a sharp turn into a straight up gear review channel - I love your takes on real world ergonomics, trouble-shooting, workflows, your approach when solving both unique and regular challenges, etc. (not to mention OSINTing your live shot locations would probably stop if you just sat in your garage reviewing stuff companies would send you!).
I love the frank straightforwardness of your channel. And the little micro reviews you do throughout when you're using new gear on the job are useful, too. We can all go find detailed reviews of gear if we'd like, but it's just as valuable for us to see how you incorporate that gear into your workflow. It doesn't matter how many 5-star reviews something has if it conflicts with everything else on your rig. Also, love those Kondor Blue 65W D-tap to USB-C adaptors. Useful for charging V/Gold-mounts via USB, too.
What I like about your channel is you actually work in the field with all of this gear. Gear review specific channels are nearly worthless because those content creators don’t actually know how to put equipment through its paces. And I agree with not building out certain cameras. The FX6 is a perfect example of that. Everybody tries to build it out into a large cinema camera, but I find it doesn’t ever want to be that. It’s a 2lb camera that can do a lot without all of the extra stuff, and that’s really where the magic lies. If you’re in a studio and on a tripod all day, sure, go nuts with bolt on accessories. But if you’re actually on location, handheld, and operating without a bunch of support people, keeping it simple is always the way.
RE the issues you were having with the Smallrig ‘Ultralite’ arm - if you use the offerings from either Wooden Camera or Mid49, they have an extra cutout on the clamp to let you get the ball at 90 degrees how you wanted. We had similar issues with the Smallrig one but tend to use the Wooden camera ball clamps with either Kondor blue or Mid49 ball ends now
I watch every vlog because its nice to watch someone else in the industry show their process, their trials and tribulations, the same kind of things we all go through. Gear related or otherwise! Also on one paranormal show I work on we have been running the regular Zacuto VCT pro baseplates for years now. Not as tall as the arri, still have a sliding quick release plate to balance the camera, and decently lightweight and comfortable for what we do. Just not a quick swap if you needed to switch to a full 19mm rod studio setup with a different base and bridge plate. My personal favorite is the even older Zacuto vct baseplate without the sliding plate, because its the thinnest option ive found with a comfortable shoulder pad. And they are very cheap on the used market.
Regarding content about gear, I like it when you talk about how the gear you use affects your quality of life on a shoot. That's always a useful perspective since I hate battling gear when I'm on a shoot. But the world definitely doesn't need more videos talking about gear specs.
Sharing your process is the reason we're all coming back to these videos. If you cater to the algorithm, ironically your content becomes a less useful resource to us working in this world full-time. I will say it is useful when you mention when a piece of kit is useful or not working out - but the way you've been doing it (mentioning it on the side) is just fine.
Wind and EasyUps reminds me of a wild afternoon in Palm Springs. I was helping a friend with her clothing show outside in downtown PS. Almost without warning these massive gusts, with huge raindrops, came whipping through the park. Even though the tents were all tied down, it was like a hurricane came through, everyone lost tents and a lot of artwork.
I've expended this type of storm in Scottsdale. I was working at a country club and a bag cart broke free in the wind and dented the rear door of my van. I was a 100 yards away hiding from the massive hail. 10 minutes prior it was sunny, those desert storms are serious.
Thank you for the video David. What you said Burano is great on the native form. I so much enjoying using it without any additional stuff. Just the Burano, a micro lightweight VMount, and that's it. The only con, is the monitor is not bright enough but probably with a monitor hood will be fine.
Have you ever used the HipShot accessory for underslung/waist-height filming? Also, I started watching your channel because of the content you wanted to release. My entry point was was your van transformations. Continue down your own path.
What you do on this vlog is so much more interesting than any other channel. Solving real world problems is just not done on youtube. And I think once you get your setup rigged to your needs, there wont be more "reviews". You do you and we will watch. Strangely the only other person who (I think) puts real world info in his reviews is the Aussie Gaffer & Gear guy. Stay Cranky My Friend !
Watching you work I think you'd benefit from using an EasyRig and the SONY handgrip for the Burano. Also, I bought a right angle HDMI adapter that made it easier to get around the P-Tap... also makes for a more secure connection.
Hi Chris. I avoid the various vest solutions, irrational as it may be, it keeps me motivated at the gym. I had the Sony grip in the van but it was a bit of hike, so I powered through. I have experienced what you stated (in the FB group)... the Burano is best with E mount lenses. I was excited to start using my PL zooms again, but each shoot E mount has been the better workflow. Right angle HDMI installed. Now thinking we need a HDMI aluminum clamp similar to the options for mirrorless cameras. Appreciate your wisdom.
To get longer ‘floaty’ shots without the strain you can get a 100mm tripod bowl and put a tennisball in there. Then just rest the camera on the tennisball (only need to hold the top handle) and you’re good to go
Hobby all the way please, but appreciate that you should be getting an income from this material - so a tough call. For me it is your approach to projects that resonates with me, gear reviews... meh! If gear reviews pay for the time you put in though, totally get it. Will still be watching as there is always a great takeaway from every VLOG.
Keep it as a hobby. the landscape of youtube changes way too much and it can add a lot more to your plate than it may at first seem. Videos and voice over, cover it for me. no need for fancy shots or home studio. keep it real and save your energy for something that deserves it and is more rewarding. There's no need for cheap Asian products showcases or reviews. the fact that your showing what kit you use as proves that well invested kit will last longer than any fad that social media will shove in our faces. Looking forward to more videos and vlogs :)
If you want an authentic audience that appreciates you, keep doing these vlogs. If you want to turn TH-cam into a job but with more income benefits, copy the trends. I know which one I hope you choose, but won't be mad either way.
Hey Dave... love the Cranky Cameraman! I do the same type of work as you and it's really fun to see your approach to gear, shooting and everything else. Unless we work on shoots with crews from different production companies or networks, it's rare we get to share this type of info with each other, so please keep up the "Day in the Life of the Cranky Cameraman"! I feel your pain finding solutions to get your new camera rig to work the way you need for all circumstances. Will be watching closely your adventures rigging the Burano and your take on the camera as a bump up from the FX9. One question... I've been thinking about going back to the CN7 for some shoots (had it when it was new for the FS7, then sold it due to the weight) wondering if your still using that lens over the 28-135 for most shoots with the Burano and FX9?
I hear your comment about turning the channel as a revenue generating thing or as a hobby, it's a life style type of thing. You've commented about not wanting to make it a gear channel, and I love your real world working solutions to your business. Having said that, I need to ask tech question, how are you adapting your Cannon lens to Sony E and how have the adaptions worked? I'm looking at a Sony FE PZ 28-135mm or a Canon version and using an adapter. What's your take? Thank you.
Keep as a hobby, you can spot those that are trying to or have made their channels as the creator content channel and it takes away from day to day trials of just humping it as a freelance DP. Besides, when gear gets granular, you help so many people before they purchase a cable, little arm or adapter, etc.
Looking at the Burano franken-cam you are slowly building, it would be cool to hear some general thoughts on why ergonomics largely suck for this type of work. Why are the companies so focused on this cube style format. Ok, obviously, more flexibility for a wider range of applications must be their logic, but how come they won't develop a more up to speed run-and-gun cameras? Is the move to full frame to blame? Or is the market too small for them to throw R&D resources at it?
I see it as aspirations to make every project a "cinema" experience. The time proven ENG format is best for 90% of the work I do, I like the small JVC ENG camera, long and low profile, yet this form factor is extremely rare. Or, same concept in film the Aaton LTR and XTR. Cube cam, ok yes good for drone and gimbal, but outside of the .01% making very high end content we all switch to small cameras for the drone and gimbal shots. Traditional cinema is generally obsolete, as is television.... My 17 year old son's generation will become working professionals using phone form factors.
Hello! How are you? I have a question about how to send signals from 3 DSLR cameras to live television, they only have HDMI output. My idea, without knowing it, would be to have an AtomX CAST to have the 3 cameras and audio connected and with the device that you use, I think it is the LiveU Solo Pro and send the signal to them. It would be like this? or am I totally wrong?
If you want to send 3 cameras, at full 1080, you would need 3 synchronized liveU / TVU units. Or the 4 input LU800 or 4 input TVU. All of which are expensive broadcast grade units which can transmit with under 1 second delay. The Solo product has a higher delay and is configured for internet streaming, where low latency is not a requirement.
I still love and recommend the Rush Design VCT shoulder plate. It’s the lightest and lowest profile vct shoulder plate that I’m aware of. It can’t do everything in terms of sliding, since the 15mm lightweight rods are fixed, if you need to slide the camera body you’d have to reposition aks, but I still think it’s great.
Yes, I still have this on my list. The best sliding options (for me) are same 15mm issue as the Rush. As to keep the rods static there is too much stack height (for me).
@@CrankyCameraman Yep, I can definitely confirm the Rush rod height is not adjustable and not at the proper level for Burano. I'm not actually sure if it does interface directly with any camera in terms of rod height. I use mine with mostly a clamp on matte box so I haven't worried about it being a 15mm LWS for my cameras, and for its VCT capabilities, but it's as bare bones as it gets.
12:50 I can never get away with this. Even with heavy ass cameras. My hands, arms, and body shake too much for this kind of camera hold. I felt silly buying the CineSaddle years ago for almost $400 but it was the only way I can get these kinds of handheld shots. Were you able to get a steadicam style floating shot without post stabilization? If so, I'm jealous. My shot would have looked like gelatin. lol.
Bluetooth for my phone. Set to vibrate as I miss text messages often when operating. Missed message plus 15 to 60 minutes often results in a failed booking. And the work only comes in when I'm working.
Be careful of the metal Dtap multiplier. The one we bought works, but the outer edge of the “D” is just a couple thousandths too small th-cam.com/users/shorts-jZWW4IWI1E?feature=shared
rough as guts brain dump follows ;-p 13:59 looks and feels super weird to be shooting this gig on the Burano instead of ie just a mirrorless or FX3 etc... I get you're wanting to shoot with the new camera, get used to using it, find the best way to use it on smaller jobs so that when the bigger and more important jobs come in for it you've everything from how you use it / grip it / monitor it etc etc dialled in... but it still looks a little awkward, and just less easy in that environment in particular, but also going forward in how a lot of this industry seems to be heading - which is mirrorless to mobile content creation for so many tiers of business now, "social first" objectives over the traditional hallmark well produced TVC or series of TVCs, with intricate production value being less important than content that looks user generated, can be repurposes a 100 ways, and has some kind of hype to it... still all with some kind of message / story, but where beautiful pictures and sound actually matter a bit less.... long story short - listen to the consensus of these recent podcasts by The Wandering DP: 1. THE WANDERING DP PODCAST: EPISODE #427 - CINEMATOGRAPHY SURVEY (2024) shorturl.at/uyDHQ 2.THE WANDERING DP PODCAST: EPISODE #432 - 2024 CINEMATOGRAPHY SURVEY (PART #2) shorturl.at/ckxBJ Things feel a little bleak - and it's time for us all to pivot / expand our offerings and potentially consider shooting on super small setups. shooting for SMEs I think you're best to be shooting open gate, with permanent guides up for 9:16 / 16:9 and considerations for 1:1 and 4:5 in your 9:16 framing top and bottoms. And of course, case in point, you've all the gear and rigging investment in that gear, plus of course the talent and experience for any higher end production, but what the client wants and likes was potentially originally shot by an enthusiastic 20 yo on a camera / lens package worth $3-$5K USD... how much do we really need to invest to get 80% of the work done for most SMEs / brands these days...and still after all that, does a potential consumer even care - and WHAT and HOW are we going to make content for an SME that might engage with them enough so that they spend their money on that product / service etc... cause the cardinal sin would be to "sell" to them...It's a tough ask in a lot of ways... Sorry for the meandering above, just throwing down some points to consider / maybe worth further discussion in another vlog or in the comments alone. Do checkout the podcasts though... a good listen / pulse check.
Listened to both podcasts while working in the garage. Yup, jobs dead... But my first class in tv production, junior high, 8th grade, the instructor strongly encouraged a career outside of media production, as "jobs dead." 13 year old boy wants to pursue something, adults says no, the result... a healthy career in media. Wandering DP is focused on advertising production. I earned bank in my mid to late 30s shooting commercials and I wasn't a big deal, smaller spots, occasionally mid range booking, biggest production "budget" about 500k, and the majority of that goes to talent . Boat, Porsche, vacations, motorcycles, with cash, all disposable income earned in commercial production. But as online advertising replaced traditional the income in the mid range is not there anymore. I use to be super happy to clear $6 to 10k on a project. And the old timers would tell me about the '90s and when the same role was 20k and beyond. Today I earn 2k-10k per project and that is with gear. Patrick (podcast host) said that in a market, 20% of the talent gets 80% of the work. This as been true for me, 2008 recession and 2020 lockdown I kept busy while many of my peers struggled and left the business. But I had to pivot to work I was previously declining, 30 minute infomercials then falling back to ENG news as in California it was "essential business." This trade is difficult, there is always more supply than demand, the aesthetics and technology constantly evolve... jobs dead, regardless go get it.
keep the video as a hobby, we don't need another gear review chenal, but we do need something like this! Keep up the good work!
Subscribed after 2 minutes. A true videographer who shows his work instead of talking about gear and stuff in a cozy studio with not much to back it up in actual work.
Keep as a hobby but whatever works best for you. Appreciate your frankness and no BS comments, if you make it a ‘equipment review channel’ then those will suffer. If if become a drudge then stop doing it. Regards, Charles
Your content is great, very unique on YT, hope you carry on with this format
As many others have said, your channel is unique, and we love it that way!
Keep making videos as a hobby, we your audience will adjust to that. Thank you for sharing I enjoyed watching you work and just hearing your thoughts on your gear.
The "gear reviewer" question is a good one. I think people (such as myself) value your gear opinions because you are a working professional. For example, when you deep-dived into your Burano setup when you first got it, that is great information and gives me ideas about my own rigs. The trap is that if you go full-time gear reviewer, you stop doing gigs and lose the valuable real-world experience. But looking at the TH-cam landscape, gear reviewers seem to do well. There is no right answer.
For what it's worth, I hope this does't take a sharp turn into a straight up gear review channel - I love your takes on real world ergonomics, trouble-shooting, workflows, your approach when solving both unique and regular challenges, etc. (not to mention OSINTing your live shot locations would probably stop if you just sat in your garage reviewing stuff companies would send you!).
Hobby, I get more out of your location work/travel hacks than the gear talk 👍
I love the frank straightforwardness of your channel. And the little micro reviews you do throughout when you're using new gear on the job are useful, too. We can all go find detailed reviews of gear if we'd like, but it's just as valuable for us to see how you incorporate that gear into your workflow. It doesn't matter how many 5-star reviews something has if it conflicts with everything else on your rig.
Also, love those Kondor Blue 65W D-tap to USB-C adaptors. Useful for charging V/Gold-mounts via USB, too.
check out the mid49 arms. They are both 1/4 20 and 3/8 at the same time. the 3/8s slides back to reveal the 1/4 20 when you need it. Super handy!!
What I like about your channel is you actually work in the field with all of this gear. Gear review specific channels are nearly worthless because those content creators don’t actually know how to put equipment through its paces.
And I agree with not building out certain cameras. The FX6 is a perfect example of that. Everybody tries to build it out into a large cinema camera, but I find it doesn’t ever want to be that. It’s a 2lb camera that can do a lot without all of the extra stuff, and that’s really where the magic lies. If you’re in a studio and on a tripod all day, sure, go nuts with bolt on accessories. But if you’re actually on location, handheld, and operating without a bunch of support people, keeping it simple is always the way.
RE the issues you were having with the Smallrig ‘Ultralite’ arm - if you use the offerings from either Wooden Camera or Mid49, they have an extra cutout on the clamp to let you get the ball at 90 degrees how you wanted.
We had similar issues with the Smallrig one but tend to use the Wooden camera ball clamps with either Kondor blue or Mid49 ball ends now
I watch every vlog because its nice to watch someone else in the industry show their process, their trials and tribulations, the same kind of things we all go through. Gear related or otherwise!
Also on one paranormal show I work on we have been running the regular Zacuto VCT pro baseplates for years now. Not as tall as the arri, still have a sliding quick release plate to balance the camera, and decently lightweight and comfortable for what we do. Just not a quick swap if you needed to switch to a full 19mm rod studio setup with a different base and bridge plate.
My personal favorite is the even older Zacuto vct baseplate without the sliding plate, because its the thinnest option ive found with a comfortable shoulder pad. And they are very cheap on the used market.
Regarding content about gear, I like it when you talk about how the gear you use affects your quality of life on a shoot. That's always a useful perspective since I hate battling gear when I'm on a shoot. But the world definitely doesn't need more videos talking about gear specs.
Sharing your process is the reason we're all coming back to these videos. If you cater to the algorithm, ironically your content becomes a less useful resource to us working in this world full-time. I will say it is useful when you mention when a piece of kit is useful or not working out - but the way you've been doing it (mentioning it on the side) is just fine.
Wind and EasyUps reminds me of a wild afternoon in Palm Springs.
I was helping a friend with her clothing show outside in downtown PS. Almost without warning these massive gusts, with huge raindrops, came whipping through the park. Even though the tents were all tied down, it was like a hurricane came through, everyone lost tents and a lot of artwork.
I've expended this type of storm in Scottsdale. I was working at a country club and a bag cart broke free in the wind and dented the rear door of my van. I was a 100 yards away hiding from the massive hail. 10 minutes prior it was sunny, those desert storms are serious.
Thank you for the video David. What you said Burano is great on the native form. I so much enjoying using it without any additional stuff. Just the Burano, a micro lightweight VMount, and that's it. The only con, is the monitor is not bright enough but probably with a monitor hood will be fine.
Checkout the Bright Tangerine Burano System. Their shoulder pad solution looks nice!
Have you ever used the HipShot accessory for underslung/waist-height filming?
Also, I started watching your channel because of the content you wanted to release. My entry point was was your van transformations. Continue down your own path.
What you do on this vlog is so much more interesting than any other channel. Solving real world problems is just not done on youtube. And I think once you get your setup rigged to your needs, there wont be more "reviews".
You do you and we will watch.
Strangely the only other person who (I think) puts real world info in his reviews is the Aussie Gaffer & Gear guy.
Stay Cranky My Friend !
Watching you work I think you'd benefit from using an EasyRig and the SONY handgrip for the Burano. Also, I bought a right angle HDMI adapter that made it easier to get around the P-Tap... also makes for a more secure connection.
Hi Chris. I avoid the various vest solutions, irrational as it may be, it keeps me motivated at the gym. I had the Sony grip in the van but it was a bit of hike, so I powered through. I have experienced what you stated (in the FB group)... the Burano is best with E mount lenses. I was excited to start using my PL zooms again, but each shoot E mount has been the better workflow. Right angle HDMI installed. Now thinking we need a HDMI aluminum clamp similar to the options for mirrorless cameras. Appreciate your wisdom.
To get longer ‘floaty’ shots without the strain you can get a 100mm tripod bowl and put a tennisball in there. Then just rest the camera on the tennisball (only need to hold the top handle) and you’re good to go
Thanks for the reminder. I’ve done this a few times, all the way back to a Arri BL III. It’s been a long time though.
Hobby all the way please, but appreciate that you should be getting an income from this material - so a tough call. For me it is your approach to projects that resonates with me, gear reviews... meh! If gear reviews pay for the time you put in though, totally get it. Will still be watching as there is always a great takeaway from every VLOG.
Take a look at the Kondor Blue DTAP splitter; it reads out the battery voltage realtime
Dave keep doing what you are doing. plenty of gear reviews. unless you think yo can make a few extra $$. be safe.
Keep it as a hobby. the landscape of youtube changes way too much and it can add a lot more to your plate than it may at first seem.
Videos and voice over, cover it for me. no need for fancy shots or home studio. keep it real and save your energy for something that deserves it and is more rewarding.
There's no need for cheap Asian products showcases or reviews. the fact that your showing what kit you use as proves that well invested kit will last longer than any fad that social media will shove in our faces.
Looking forward to more videos and vlogs :)
If you want an authentic audience that appreciates you, keep doing these vlogs.
If you want to turn TH-cam into a job but with more income benefits, copy the trends.
I know which one I hope you choose, but won't be mad either way.
Hey Dave... love the Cranky Cameraman! I do the same type of work as you and it's really fun to see your approach to gear, shooting and everything else. Unless we work on shoots with crews from different production companies or networks, it's rare we get to share this type of info with each other, so please keep up the "Day in the Life of the Cranky Cameraman"! I feel your pain finding solutions to get your new camera rig to work the way you need for all circumstances. Will be watching closely your adventures rigging the Burano and your take on the camera as a bump up from the FX9. One question... I've been thinking about going back to the CN7 for some shoots (had it when it was new for the FS7, then sold it due to the weight) wondering if your still using that lens over the 28-135 for most shoots with the Burano and FX9?
Thanks. Most of the time I’m on the 28-135 or E mount AF primes. Love the CN7 but it is super (front element) heavy.
Keep it as a hobby
I hear your comment about turning the channel as a revenue generating thing or as a hobby, it's a life style type of thing. You've commented about not wanting to make it a gear channel, and I love your real world working solutions to your business. Having said that, I need to ask tech question, how are you adapting your Cannon lens to Sony E and how have the adaptions worked? I'm looking at a Sony FE PZ 28-135mm or a Canon version and using an adapter. What's your take? Thank you.
Keep as a hobby, you can spot those that are trying to or have made their channels as the creator content channel and it takes away from day to day trials of just humping it as a freelance DP. Besides, when gear gets granular, you help so many people before they purchase a cable, little arm or adapter, etc.
Can you crop the sensor in REC , I guess not , but that would be a great feature if you can.
Crop in Rec, I don’t think so. But it does have clear image zoom. Same idea but variable and this works in Rec.
Looking at the Burano franken-cam you are slowly building, it would be cool to hear some general thoughts on why ergonomics largely suck for this type of work. Why are the companies so focused on this cube style format. Ok, obviously, more flexibility for a wider range of applications must be their logic, but how come they won't develop a more up to speed run-and-gun cameras? Is the move to full frame to blame? Or is the market too small for them to throw R&D resources at it?
I see it as aspirations to make every project a "cinema" experience. The time proven ENG format is best for 90% of the work I do, I like the small JVC ENG camera, long and low profile, yet this form factor is extremely rare. Or, same concept in film the Aaton LTR and XTR. Cube cam, ok yes good for drone and gimbal, but outside of the .01% making very high end content we all switch to small cameras for the drone and gimbal shots. Traditional cinema is generally obsolete, as is television.... My 17 year old son's generation will become working professionals using phone form factors.
Just noticed bone sound headset in the last bit, is it to listen music and be able to check surroundings?
Phone calls and PL with control room. So I can also wear camera audio in ear and or ear plugs.
@@CrankyCameraman Makes sense
Hello!
How are you?
I have a question about how to send signals from 3 DSLR cameras to live television, they only have HDMI output.
My idea, without knowing it, would be to have an AtomX CAST to have the 3 cameras and audio connected and with the device that you use, I think it is the LiveU Solo Pro and send the signal to them.
It would be like this? or am I totally wrong?
If you want to send 3 cameras, at full 1080, you would need 3 synchronized liveU / TVU units. Or the 4 input LU800 or 4 input TVU. All of which are expensive broadcast grade units which can transmit with under 1 second delay. The Solo product has a higher delay and is configured for internet streaming, where low latency is not a requirement.
I still love and recommend the Rush Design VCT shoulder plate. It’s the lightest and lowest profile vct shoulder plate that I’m aware of. It can’t do everything in terms of sliding, since the 15mm lightweight rods are fixed, if you need to slide the camera body you’d have to reposition aks, but I still think it’s great.
Yes, I still have this on my list. The best sliding options (for me) are same 15mm issue as the Rush. As to keep the rods static there is too much stack height (for me).
Also, can you confirm, the Rush rod height is not adjustable and not setup at the proper level for Burano?
@@CrankyCameraman Yep, I can definitely confirm the Rush rod height is not adjustable and not at the proper level for Burano. I'm not actually sure if it does interface directly with any camera in terms of rod height. I use mine with mostly a clamp on matte box so I haven't worried about it being a 15mm LWS for my cameras, and for its VCT capabilities, but it's as bare bones as it gets.
Shoulder Pads! I see what you mean about the height though,
12:50 I can never get away with this. Even with heavy ass cameras. My hands, arms, and body shake too much for this kind of camera hold. I felt silly buying the CineSaddle years ago for almost $400 but it was the only way I can get these kinds of handheld shots. Were you able to get a steadicam style floating shot without post stabilization? If so, I'm jealous. My shot would have looked like gelatin. lol.
Burano has IBIS, so looked great! However, I've been shooting this way for many years with live tv cameras with no IS, so use to the back strain.
What kind of earphones do we see with the burano?
Bluetooth for my phone. Set to vibrate as I miss text messages often when operating. Missed message plus 15 to 60 minutes often results in a failed booking. And the work only comes in when I'm working.
Be careful of the metal Dtap multiplier. The one we bought works, but the outer edge of the “D” is just a couple thousandths too small
th-cam.com/users/shorts-jZWW4IWI1E?feature=shared
Thanks for the heads up!
"I don't really want to review gear." Right from your mouth. Don't do it. You'll come to hate it.
Vlog what you enjoy vlogging else it becomes a chore and that won’t be good for you or us.
Please no gear reviews , stay doing what you do pls man .
rough as guts brain dump follows ;-p
13:59 looks and feels super weird to be shooting this gig on the Burano instead of ie just a mirrorless or FX3 etc... I get you're wanting to shoot with the new camera, get used to using it, find the best way to use it on smaller jobs so that when the bigger and more important jobs come in for it you've everything from how you use it / grip it / monitor it etc etc dialled in... but it still looks a little awkward, and just less easy in that environment in particular, but also going forward in how a lot of this industry seems to be heading - which is mirrorless to mobile content creation for so many tiers of business now, "social first" objectives over the traditional hallmark well produced TVC or series of TVCs, with intricate production value being less important than content that looks user generated, can be repurposes a 100 ways, and has some kind of hype to it... still all with some kind of message / story, but where beautiful pictures and sound actually matter a bit less....
long story short - listen to the consensus of these recent podcasts by The Wandering DP:
1. THE WANDERING DP PODCAST: EPISODE #427 - CINEMATOGRAPHY SURVEY (2024)
shorturl.at/uyDHQ
2.THE WANDERING DP PODCAST: EPISODE #432 - 2024 CINEMATOGRAPHY SURVEY (PART #2)
shorturl.at/ckxBJ
Things feel a little bleak - and it's time for us all to pivot / expand our offerings and potentially consider shooting on super small setups.
shooting for SMEs I think you're best to be shooting open gate, with permanent guides up for 9:16 / 16:9 and considerations for 1:1 and 4:5 in your 9:16 framing top and bottoms.
And of course, case in point, you've all the gear and rigging investment in that gear, plus of course the talent and experience for any higher end production, but what the client wants and likes was potentially originally shot by an enthusiastic 20 yo on a camera / lens package worth $3-$5K USD... how much do we really need to invest to get 80% of the work done for most SMEs / brands these days...and still after all that, does a potential consumer even care - and WHAT and HOW are we going to make content for an SME that might engage with them enough so that they spend their money on that product / service etc... cause the cardinal sin would be to "sell" to them...It's a tough ask in a lot of ways...
Sorry for the meandering above, just throwing down some points to consider / maybe worth further discussion in another vlog or in the comments alone. Do checkout the podcasts though... a good listen / pulse check.
Listened to both podcasts while working in the garage. Yup, jobs dead... But my first class in tv production, junior high, 8th grade, the instructor strongly encouraged a career outside of media production, as "jobs dead." 13 year old boy wants to pursue something, adults says no, the result... a healthy career in media.
Wandering DP is focused on advertising production. I earned bank in my mid to late 30s shooting commercials and I wasn't a big deal, smaller spots, occasionally mid range booking, biggest production "budget" about 500k, and the majority of that goes to talent . Boat, Porsche, vacations, motorcycles, with cash, all disposable income earned in commercial production. But as online advertising replaced traditional the income in the mid range is not there anymore. I use to be super happy to clear $6 to 10k on a project. And the old timers would tell me about the '90s and when the same role was 20k and beyond. Today I earn 2k-10k per project and that is with gear.
Patrick (podcast host) said that in a market, 20% of the talent gets 80% of the work. This as been true for me, 2008 recession and 2020 lockdown I kept busy while many of my peers struggled and left the business. But I had to pivot to work I was previously declining, 30 minute infomercials then falling back to ENG news as in California it was "essential business."
This trade is difficult, there is always more supply than demand, the aesthetics and technology constantly evolve... jobs dead, regardless go get it.