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Am I A Traitor For Wanting More Than One Camera?

Jason beaumont

Jason beaumont

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Lately ive been contemplating buying one of these 4k DSLR (A7S or Black Magic CC). I love my RED but I feel like its a lot of extra work for about 50% of the type of projects I'm getting right now.I feel like the images coming out of some of the smaller cameras are more than enough for the budget of music videos & commercials I'm getting. Operating the RED on things like the Ronin is heavy hard work, along with just everything that comes along with a professional camera of this caliber. While I love it for short films and stuff, I was contemplating a secondary camera for smaller budget shoots.

My question to you, is should I just stick with one camera and continue perfecting my technique with just this one camera and suck it up? Should I use the best camera I have so my work reflects my best regardless of budget OR is it normal to have different cameras for different levels of work.
 
My 2 cents, FWIW. If the weight of the Epic + Ronin is issue, then why you should spend the money that on an exoskeleton system instead, like the Armorman 2? This will help with the weight tremendously.
In the end, for building your career and reel showcase, you'd end up with better images. Wouldn't you want your body of work to consist of most or if not all "shot on Red" images (vs a7s images)? Your body of work will be on that different category altogether. For potential clients out there, this is what they see without knowing you. That alone is worth it.

On the other hand, if you need a second camera for B roll or different angle, I'd say go and get that camera.

Cheers.
 
I went out and shot with a mate the other day. He was using a c100 on a ronin m. Auto focus, light and easy.. he was pulling shots everywhere whilst I was still setting up... once we cut our dragon footage and c100 together for Insta you could hardly tell who's footage was who's. I'm seriously considering a c100 for those types of shots.

So to answer your question I say yes. If quality isn't everything get a c100
 
Jacob Ryan said:
My 2 cents, FWIW. If the weight of the Epic + Ronin is issue, then why you should spend the money that on an exoskeleton system instead, like the Armorman 2? This will help with the weight tremendously.
In the end, for building your career and reel showcase, you'd end up with better images. Wouldn't you want your body of work to consist of most or if not all "shot on Red" images (vs a7s images)? Your body of work will be on that different category altogether. For potential clients out there, this is what they see without knowing you. That alone is worth it.

On the other hand, if you need a second camera for B roll or different angle, I'd say go and get that camera.

Cheers.
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I think you would be hired as a DP that can shoot on anything vs. All shot on RED to be honest. A good DP will make good images regardless of camera. Some cameras just make the work easier. :smile:
 
IMHO, FWIW: if you're going to get a small camera, make sure it has features which you can't get on the RED, to make up for the lesser image quality. I would have to pick the A7sII. It has a stabilised sensor and is great in low light. Other cameras do not sufficiently make up for their deficiencies.

DSLRs may have advantages for specific types of photography, but they effectively become mirrorless cameras with redundant dead weight once you start shooting video.

Again, that's just IMHO. YMMV.
 
Doesn't hurt to create a separate DP reel, using just sub $1,000 camera. It'll showcase "image what I can do with an 8K VV" abilities.
DP reel and a separate "Cheap cam" DP reel.


Bob Gundu said:
I think you would be hired as a DP that can shoot on anything vs. All shot on RED to be honest. A good DP will make good images regardless of camera. Some cameras just make the work easier. :smile:
Click to expand...
 
Jacob Ryan said:
Doesn't hurt to create a separate DP reel, using just sub $1,000 camera. It'll showcase "image what I can do with an 8K VV" abilities.
DP reel and a separate "Cheap cam" DP reel.
Click to expand...

I really don't get this. Good work is good work, regardless of what camera you shot it on. Your reel should be about showcasing your compositional eye, your ability to control natural and artificial light, your sense of storytelling with movement, blocking, cutting, lensing, light, and shadow. In other words, it should be about selling you, not what gear you might have to rent. That's the best strategy for long-term success, in my humble opinion. Equipment quickly depreciates over time, while your skill and talent slowly appreciates (provided you keep pushing to improve).

Some shots on my reel are from full rate commercial jobs with all the toys, while many others are from low budget projects or freebies - there's Epic footage next to 5D footage, F65 footage next to 35mm footage, a7S footage next to Alexa footage, etc. No director, producer, or client has ever asked me what a particular project was shot on - they either liked the shots or they didn't. Some will ask what cameras I own, but usually only because they are looking for a deal. Well, if they ...want a deal on a 35mm camera package, I'm happy to give it to them! Otherwise, we simply rent whichever camera makes sense for their project and their budget. I find the best clients tend to be the ones who want me for my creativity, not the ones who simply want me to push a 4K/6K/8K button.
 
A key point from the business perspective is you don't want to be known as the guy who will do low budget DSLR jobs which he'll bring along a full RED package to, as then you might struggle to get full rates paid for the bigger actual RED jobs....

Having a Sony a7S / URSA Mini / Blackmagic Micro Cinema Camera / Nikon D500 / Panasonic G80 / whatever, then gives you a lot more flexibility to come down in price to meet the budget of producers with an extremely limited budget, without compromising your RED rates.

I agree with the comment above about getting a camera which complements your RED by being strong in other areas, is a sensible idea.

Thus an a7S mk2 for its IBIS and extremely good lowlight.

Or a Blackmagic Micro Cinema Camera for its raw in an *EXTREMELY* small size! (basically the BMMCC is a BMPCC V2.0! The Micro has all the same goodness of the Pocket but with a bunch of improvements: full size HDMI, 60fps slow motion, even smaller size, longer lasting battery, and more!)

Nikon D500 or D750 for its top top notch DSLR video footage (I think there isn't a DSLR at their price points which can do better), for if you also want to get a serious photography camera as well.

I mentioned the Panasonic G80 as good grief, it is so cheap, it just provides by far and by far the best value 4K mirrorless/DSLR offering on a budget! (the G7 was already a step ahead over the stock standard internal 4K from the GH4, and the G80 just takes it even further!! Plus I always like Panasonic over Sony, as while they're not as quite great with their headline specs as Sony can be, at least Panasonic does a slick implementation of what they do deliver without the various niggling quirks that Sony is known for) Andy Lee used a whole bunch of G7 camera bodies to shoot a feature film with them: http://www.eoshd.com/comments/topic/20214-g7-internal-recording-hdmi-out/

Any of these can offer you something specific that your RED can't, so not only is it a lower budget alternative to a RED that you can offer, but even sometimes it is an option you'd prefer to use over your RED.
 
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All valid points for DP ing in general, Matsusaki. You're right in that if the DP uses the right camera for the project, it wouldn't matter what equipment is used. It should be about the talent and the eye of the DP, not the equipments. I agree. Keyword here is "the right camera for the project." You mentioned that the project's budget calls for a specific camera.

You incorrectly assume that I put equipment before talent. That is not the case. There's no doubt that the 5D Mkii in the right hands make fantastic images. We've all seen Vince Laforet's exemplary work using that camera.

However, in this specific case the OP has been using a cam that has higher dr, fp , etc than the cam he's contemplating on getting. His issue, as I understand it, is the weight of the camera, not because of the budgpet (like in your example). My point is, why downgrade your body of work (potentially) if the issue can be fixed with an exoskeleton. Are you suggesting that his problem with weight is better alleviated by moving to a cam like an a7s?
 
Jacob Ryan said:
However, in this specific case the OP has been using a cam that has higher dr, fp , etc than the cam he's contemplating on getting. His issue, as I understand it, is the weight of the camera, not because of the budgpet (like in your example). My point is, why downgrade your body of work (potentially) if the issue can be fixed with an exoskeleton. Are you suggesting that his problem with weight is better alleviated by moving to a cam like an a7s?
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An exoskeleton doesn't solve all issues....
Just to give a couple of the many possible issues:
a) you'll need at least one assistant if using an exoskeleton, and on a very low budget shoot you might not even have that!
b) many low budget shoots are "stealing" locations, as they lack the budget for it, which you can kinda maybe perhaps get away with a stripped down RED.... but with an exoskeleton as well? HELL NO! ha

Thus an a7S (or any of the many others which I mentioned) could be a better choice in his situation for when he takes lower budget work on board, rather than bringing his full RED gear kit out for absolutely everything.
 
I see your point.

David Peterson said:
An exoskeleton doesn't solve all issues....
Just to give a couple of the many possible issues:
a) you'll need at least one assistant if using an exoskeleton, and on a very low budget shoot you might not even have that!
b) many low budget shoots are "stealing" locations, as they lack the budget for it, which you can kinda maybe perhaps get away with a stripped down RED.... but with an exoskeleton as well? HELL NO! ha

Thus an a7S (or any of the many others which I mentioned) could be a better choice in his situation for when he takes lower budget work on board, rather than bringing his full RED gear kit out for absolutely everything.
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Thanks for all the feedback. I am considering getting the tilta armorman 2. and also am still considering an off camera like a7s II or BMCC, although the bmcc isn't great in low light so based on what you guys are saying it would be better to get the a7s II
 
I second, or third the a7sii. We had a BMCC and it needed rigging too. Its power hungry. In the end you'll end up with a similar bulky and heavy camera. Just like the Red but with less Resolution. I think the BMCC weighs about the same and a lot less egronomic.
 
You are a traitor. Period.

When you bought your camera from RED you signed a paper saying that NEVER EVER you would use another camera. You are married to RED. And divorce here doesn't exist.

In normal times, being publicly hanged front of all the Redusers is the penalty for such crime, but I will be extremely and exceptionnaly indulgent this time, and I will just request that you send the camera to me.

Am I not merciful ?

Now you can bow and thanks me all the rest of your miserable underlife.
 
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Hugues Dagallier said:
You are a traitor. Period.

When you bought your camera from RED you signed a paper saying that NEVER EVER you would use another camera. You are married to RED. And divorce here doesn't exist.

In normal times, being publicly hanged front of all the Redusers is the penalty for such crime, but I will be extremely and exceptionnaly indulgent this time, and I will just request that you send the camera to me.

Am I not merciful ?

Now you can bow and thanks me all the rest of your miserable underlife.
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lol! Fair enough.
 
i had a second camera with lower res for "smaller" jobs so i dont have to deal with RAW footage. But once i found out the Epic-W does 4K ProRes, that killed the need for me to have the a7. i hated the internal codec on the a7. So using an external recorder, added size and more aks to fulfill my needs. Shooting a7 without an external monitor is not ideal for focus, exposure nor composition. At the end my a7 was no smaller than a stripped down RED camera. now with internal 4k ProRes, i personally didnt feel the need to have a smaller less satisfying camera.
 
i like owning many personally. I can play nice with arri or red fan boys alike now...infiltrate as necessary lol
 
Brian Merlen said:
i like owning many personally. I can play nice with arri or red fan boys alike now...infiltrate as necessary lol
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dont mind owning both an alexa and red either. You need the right tool for the job.
But i think this discussion was originally about owning a a7 or a blackmagic on lesser jobs.
id rather not own an inferior small camera and compromise image quality. A stripped down RED is small enough for me.
 
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