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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

GROUP BUY: CAME steadycam 2-15kg >1600USD

GROUP BUY: CAME steadycam 2-15kg >1600USD

  • < 1500USD

    Votes: 79 71.2%

  • < 2500USD

    Votes: 20 18.0%

  • < 3500USD

    Votes: 6 5.4%

  • > 3500USD

    Votes: 6 5.4%
  • Total voters
    111
I know I'm in the minority and I know the hard case is a better value but I actually prefer the soft case because I think it's easier to carry.
And while for a fragile camera or lenses makes a lot of sense to use a hard case, it makes less sense to use a strong hard case to protect a device made largely from metal and foam.
 
Nils Ruinet said:
Not interested in the group buy, but looking at their website I'm curious, has anyone tried their LED lights ? They even sell LED fresnels...

http://www.camera-video-broadcast.com/category/products/413
http://www.camera-video-broadcast.c...el-Light-Spotlight-Dimmabl-Focusable_112.html
Click to expand...


Even with mediocre CRI I'd be interested in this product for some applications...
8 kilos though... how big is this head I wonder. Not exactly super portable.
A 3 head kit would be 50 lbs.

If the CRI/output was decent enough, they might even handle photography grade Chimeras and Light Tools too,
as there isn't the heat. I'm waiting for an LED bulb retrofit for my Arris...Dare to dream.
 
The Movcam Avant S appears to retail for nearly $7,000. Any idea what kind of discount are we looking at?
 
JD Holloway said:
Even with mediocre CRI I'd be interested in this product for some applications...
8 kilos though... how big is this head I wonder. Not exactly super portable.
A 3 head kit would be 50 lbs.

If the CRI/output was decent enough, they might even handle photography grade Chimeras and Light Tools too,
as there isn't the heat. I'm waiting for an LED bulb retrofit for my Arris...Dare to dream.
Click to expand...
Pretty heavy indeed, more than twice the weight of a standard 650W tungsten fresnel fixture. But still interesting given the price...
The Sola 6 from litepanels weights 9 lbs in comparison. But costs 4 times more. Hmmm...
 
Kyle Gentz said:
They also make a Arri Clone HMI?
Click to expand...

It's not an Arri Clone, They look like Arri, but the build quality is not as good, they don't have any IR filtration, they are not hot restrike, and the ballast has a fan that sound people will hate, but they do work.
 
There's nothing threatening to professionals about people buying this rig. Myself or any other op are happy to advise on proper gear to accomplish good shots, and they're not all $50K. What's slightly bothersome is the mentality that, "Oh it's cheap, so why not? or "It's at least better than handheld."

Bad to mediocre steadicam operating is way worse than intentional handheld. The problem with bad operating is that steadicam work is supposed to be invisible. It's the ability to be some aspects of a dolly and crane, with complete freedom of movement. I'd take handheld any day over Noel's demo (no offense Noel, but that shot, while I know you haven't practiced much, is completely unusable).

People have mentioned they want it for the "simple" walk and talk. In reality, it's not so simple, and nothing with steadicam is.

Buying this rig is the same mentality of low budget producers who try to make cheap things look expensive. It almost never works! Work within your means. If you don't have the money for a proper piece of equipment or to hire a proper professional, don't do it. Work within your budget to make your best product. Buying something cheap so it'll look more professional or expensive, i guarantee you, will not work.

Like I said, if you can't shoot a proper steadicam shot, which again, is supposed to be invisible, come up with another solution. 99.9% of shots with this knockoff rig and inexperienced operators will look terrible, so why send money to China, when the best rigs are made in the USA?
 
Alex Kornreich said:
If you don't have the money for a proper piece of equipment or to hire a proper professional, don't do it
Click to expand...


yah people.. if you can't afford a red or an alexa.. dont make your movie.. you can only afford a GH2? put down your dreams kids, that garbage cant make the big screen... you gotta pay the REAL bucks if you want to practice making movies..

PLEASE!
ive seen these steadicams make pretty decent images, and saying noels stuff is unusable?

for what? a michael bay movie?

how is that shot not better than a shaky handheld camera running on rocks and sand?

you say work within your budget to make your best product? most of the people here are buying this rig because its the only thing in their budget, and they are working with that to make their best product.. maybe their indie script calls for a walk and talk fluid move, maybe they dont have 50ft of track and a dolly and need this in one shot.. why limit the possibilities because its not up to pro steadicam standards? I think people should use what they got and go make their movies. its not about the gear.. its about learning.. and producing

anyways im super tired and im an asshole..
im just all about low budget film making, its the only way to get better
 
Zakaree Sandberg said:
how is that shot not better than a shaky handheld camera running on rocks and sand?
Click to expand...

I wouldn't do either. I'd redesign the shot to maximize what existing gear I had, or could afford.

If you can only afford a GH2, per your analogy, shoot that. Don't shoot Alexa. Use the GH2 to whatever it's strengths are.

I've worked a lot of low budget films, and some really great ones. If they can't afford a technocrane shot, they redesign the shot to maximize what they have. If they can't afford steadicam, they redesign their shot with a doorway dolly or whatever. In this case, using this piece of equipment will get you subpar results. Not really sure why you would want to spend money on something for subpar results.

And yes, you learn a lot from low budget filmmaking. This is one of those cases where you learn what not to do, which is throwing away money on a knockoff steadicam operated by inexperienced people. But if your standards are low enough to accept floaty/wobbly, and off-horizon shots, then you'll be very happy with your purchase.
 
Alex Kornreich said:
I wouldn't do either. I'd redesign the shot to maximize what existing gear I had, or could afford.

If you can only afford a GH2, per your analogy, shoot that. Don't shoot Alexa. Use the GH2 to whatever it's strengths are.

I've worked a lot of low budget films, and some really great ones. If they can't afford a technocrane shot, they redesign the shot to maximize what they have. If they can't afford steadicam, they redesign their shot with a doorway dolly or whatever. In this case, using this piece of equipment will get you subpar results. Not really sure why you would want to spend money on something for subpar results.

And yes, you learn a lot from low budget filmmaking. This is one of those cases where you learn what not to do, which is throwing away money on a knockoff steadicam operated by inexperienced people. But if your standards are low enough to accept floaty/wobbly, and off-horizon shots, then you'll be very happy with your purchase.
Click to expand...

im sure people who buy this wont have floaty wobbly and off horizon shots forever..
at first, of course they will.. but they will get better with practice and time.. just as they would if they forked out 9k for a zephyr..

cant learn if you dont have it
 
I've never used a Steadicam.

I've *played* with one long enough to recognise "f**k this is *hard*, there's a *reason* there are full-time Steadicam pros."

It isn't the gear, it's the person using it. Doesn't matter if you pay $1500 or $20000, it's going to look pretty uninspired if you haven't got training, experience, and skill. You can't buy that.

Sometimes technology can change things radically; there are stabilized, programmable drones out there that can allow an untrained pilot to get pretty reasonable shots - shots that not so long ago would have needed a pilot with a lots of years experience.

Steadicam is NOT an area where this applies.

If you're embarking on a career in this business, or juggling projects on tight budgets, there are a lot better things you could spend $1500 on than a Steadicam. IMHO.

Mike
 
Mike 'Fireman' Ross said:
I've never used a Steadicam.

I've *played* with one long enough to recognise "f**k this is *hard*, there's a *reason* there are full-time Steadicam pros."

It isn't the gear, it's the person using it. Doesn't matter if you pay $1500 or $20000, it's going to look pretty uninspired if you haven't got training, experience, and skill. You can't buy that.

Sometimes technology can change things radically; there are stabilized, programmable drones out there that can allow an untrained pilot to get pretty reasonable shots - shots that not so long ago would have needed a pilot with a lots of years experience.

Steadicam is NOT an area where this applies.

If you're embarking on a career in this business, or juggling projects on tight budgets, there are a lot better things you could spend $1500 on than a Steadicam. IMHO.

Mike
Click to expand...

Is it wrong that I bought one and plan on practicing? Doesn't everyone start somewhere?
 
Alex Kornreich said:
I wouldn't do either. I'd redesign the shot to maximize what existing gear I had, or could afford.
Click to expand...

Alex, I think the answer to your posts is right there: you would redesign the shot, not use a cheap steadicam and so on...

Let other people do what they think suits their film. I'm sure everyone here is more than grateful if you chime in on aspects of different rigs, good classes and books to learn the art and so on. But telling people what they should do, especially what is right for their movie, is not a truly needed advice.
 
Mike 'Fireman' Ross said:
Sometimes technology can change things radically; there are stabilized, programmable drones out there that can allow an untrained pilot to get pretty reasonable shots - shots that not so long ago would have needed a pilot with a lots of years experience.

Steadicam is NOT an area where this applies.

If you're embarking on a career in this business, or juggling projects on tight budgets, there are a lot better things you could spend $1500 on than a Steadicam. IMHO.

Mike
Click to expand...

That's funny. I invested a lot of money into a Cinestar drone. People on most multirotor forums told me that exact same stuff: Takes centuries of experience, you can't do it, it 10k$ thrown out the window, and so on...

Well... the drone is already flying. I booked some training and have to work out some flaws, but I'm getting somewhere. True, it takes time to get good, but you have to start somewhere.
 
instead of sending our money to China We could build the 'cheap as chups' DIY stabiliser

https://www.youtube.com/watch?v=cK-q6IJ-qo0&t=0m31s

The movie sold at Cannes. It was filled with unusable shots. I imagine Peter Jackson developed multiple bad operator habits during the 4 year shoot.
 
While we're on the topic of Chinese manufacturer CAME... Can anyone compare their Bi-Color 1000 LEDs (with V-lock batteries) with the same product by Dracast? Would love to know the differences. Thanks.
 
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