Single Camera Owner

[Derek Carlson]

I have a Sony a7sii that I'm trying to decide whether or not to keep or sell and maybe buy up some new lenses. I've always had two cameras just in case one craps out, and also for the flexibility of multiple angles. I'd just be curious to know how many people are single camera owners or do single camera shoots exclusively? What are the pros/cons?

 

[Curtis Edlin]

This thread is in the wrong category and has nothing to do with Raven.

 

[Patrick Tresch]

I allways shoot one camera, where ever I shoot.

 

[Elsie N]

I have a Sony a7sii that I'm trying to decide whether or not to keep or sell and maybe buy up some new lenses. I've always had two cameras just in case one craps out, and also for the flexibility of multiple angles. I'd just be curious to know how many people are single camera owners or do single camera shoots exclusively? What are the pros/cons?

I would have made a great Space Shuttle designer because I'm all in on redundancy. I have a RAVEN on hand and another one on order for this fall.

I shoot my own stuff and will always have at least one of the RAVENs as a second camera POV to a scene, but mainly for the peace of mind that the relatively inexpensive RAVEN gives me that should the CF Weapon go down, I won't miss a beat.

Fool control should make a multi-cam shoot a snap once the routine is worked out.

 

[Phil Holland]

I'm mostly a single camera operator on most of my shoots. I sort of prefer it in some ways as it allows me to truly focus on the frame. But different productions require different things.

My last commercial required two cameras because logistically we needed drone and camera car rolling at the same time to minimize rather expensive street closures and setups. Last year was mostly single or double camera with one odd 5 camera shoot. Most I've ever had was 12. I can't see a time where it would make sense for me to own so many as that's a pretty special situation.

On larger productions it's common to have 2 or 3 cameras rolling most of the time for coverage and flexibility. Makes shooting dialogue a smoother process for episodics for sure.

My personal goal now is to move up to two cameras. Perhaps down the line, three.

I worked on a film called Cabin in the Woods some time ago and one thing I took from that on set experience was how often two cameras were rolling just to get a slightly different look in the edit. Especially on certain gags or punchlines. It really helped on certain quick cuts when the scenes called for it.

It is indeed also good to always have a backup. On a rather big shoot early last year I had an AC rip out an LCD/EVF cable from a Dragon brain on a gig, which must have took some effort. Just having the extra body on hand with the same accessories allowed for only a few minutes of downtime rather than the hectic search for another body in town. Another gig with rather expensive street closures with the client on site. Would have been terrible, but I used my head and had a couple bodies just in case something insane happened.

Insanity is par for the course on any given production day. Prepare accordingly. Always have a backup plan. Whether it's there or a phone call away.

 

[Elsie N]

I'm mostly a single camera operator on most of my shoots. I sort of prefer it in some ways as it allows me to truly focus on the frame. But different productions require different things.

My last commercial required two cameras because logistically we needed drone and camera car rolling at the same time to minimize rather expensive street closures and setups. Last year was mostly single or double camera with one odd 5 camera shoot. Most I've ever had was 12. I can't see a time where it would make sense for me to own so many as that's a pretty special situation.

On larger productions it's common to have 2 or 3 cameras rolling most of the time for coverage and flexibility. Makes shooting dialogue a smoother process for episodics for sure.

My personal goal now is to move up to two cameras. Perhaps down the line, three.

I worked on a film called Cabin in the Woods some time ago and one thing I took from that on set experience was how often two cameras were rolling just to get a slightly different look in the edit. Especially on certain gags or punchlines. It really helped on certain quick cuts when the scenes called for it.

It is indeed also good to always have a backup. On a rather big shoot early last year I had an AC rip out an LCD/EVF cable from a Dragon brain on a gig, which must have took some effort. Just having the extra body on hand with the same accessories allowed for only a few minutes of downtime rather than the hectic search for another body in town. Another gig with rather expensive street closures with the client on site. Would have been terrible, but I used my head and had a couple bodies just in case something insane happened.

Insanity is par for the course on any given production day. Prepare accordingly. Always have a backup plan. Whether it's there or a phone call away.

As someone who edits what they shoot, I really like having the option to switch between camera angles. I feel it is important to be able to get the exact same surprised look or quizzical look from a different angle in edit.

I know some actors can replicate a look, but I'm taken out of a movie when I see a scene that has been shot with different takes on the same moment. Having continuity in edit is a major factor in my using muliti-cameras... that and the fact it saves time by not having to reshoot a scene from a different setup.

 

[Matthew Quinn]

If you have one camera it is always a smart move to make friends with someone who has the same camera. Always good to know there is a back up handy, and great to bring in friends when 2 cameras are needed. My friend and I started out a few years back, each with a red epic. At first we didnt know each other, and it took working together a few times to get over any weird feelings, but now we have each others backs and work together all the time.

 

[Detlev Eller]

... doing single or three, sometimes two, rarely four ... ))

 

[Gene Sung]

Multiple cameras is a plus IMO. Set up the shot for the A-Cam and let B-Cam piggy back with a different lens. You often get really cool stuff from B-Cam. Several years ago I was B-Cam on a network shoot. The final spot ended using about 60% + from the B-Cam, so you never know.

From what I've heard, directors like Ridley Scott and George Miller often have 5 or more cameras setup for a certain shot.

I wish I was cool like the guys with two Reds. I've brought my FS7 as a backup cam (not B-Cam) on my last two shoots in case of mechanical malfunction on my S-W which hopefully won't happen. If I did have two Reds, I would shot dual cam all the time.

 

[Cameron McKinlay]

This thread is in the wrong category and has nothing to do with Raven.

Forum police hard a work....

 

[Cameron McKinlay]

I would NEVER show up to a gig without a second body. It may not be the same camera as my A cam but if anything happens to my A cam, I can always fall back to a bmcc, pocket, Canon 6D or sony A7sII and keep on rolling. More work in post to make them match but at least I am not left on set with egg on my face and no camera to shoot with.