C100 on the way! PLEASE help me compile a kit...

[David Dixon]

Originally Posted by Gabe Strong

Nope. Not everyone does it, despite statements to the contrary. I have never shot
DSLRs in my life and haven't a clue what a 24mm or a 50mm looks like on a FF
camera. I have shot a ton on Super 35 cameras, Red, C300, F3, FS100, and FS700.
I know what 17mm, 24mm or 50mm look like on Super 35 sensor so I buy lenses based
on that knowledge. I worked as AC on set and never once did any of the DPs refer in
any way, shape or form to FF or 35mm equivalents. All these DPs have a common
knowledge, language, and terminology based on familiarity with Super 35 motion
shooting, they don't care that a 50mm on Super 35 is closer to a 35mm on FF. They know what
a 50mm looks like on Super 35 so they just ask me to put the 50mm on the Epic.

Well, all I meant was that *everyone* takes field of view into consideration when purchasing lenses or non-interchangeable lens cameras, not that the standard has to necessarily be 35mm equivalence. But, where it applies, B&H Photo gives 35mm equivalence as a spec, and nothing else. Just for kicks, I even looked up the FS700 on Sony's pro website, and if you buy the camera with a lens, the spec for 35mm equivalence of that lens is also listed.

So, a lot of companies and customers evidently do consider it the most widely useful standard. I want that info, it's fine if others do not.

[Gabe Strong]

Well when you put it that way...I'd tend to agree. FF is probably the 'most widely used
standard' because still photogs outnumber us motion shooters 100-1. I was just
saying that some of us motion shooters 'think of the world of lenses in Super 35mm
terms' and are not doing any 'crop mathematics' in our head. So it makes sense to
offer 35mm equivalents on B&H because chances are, the person looking to buy a lens
from them is a FF still photographer. But I and many others don't have to perform
complicated crop conversions in our head as we 'see the world through Super 35
FOV'. In fact I'd venture a guess that most experienced big DPs also do as Super 35
is as much a standard in motion shooting as FF is in stills shooting. I blame the 5D for
confusing the issue, because now many still photogs are trying to move to motion
shooting. :)

[Seth Bloombaum]

Originally Posted by Gabe Strong

...I was just saying that some of us motion shooters 'think of the world of lenses in Super 35mm terms' and are not doing any 'crop mathematics' in our head... But I and many others don't have to perform complicated crop conversions in our head as we 'see the world through Super 35
FOV'...

Yes, fair enough. I hadn't quite put two and two together on the prevalence of Super 35 / APS-C sized sensors in some markets. I stand corrected.

Originally Posted by Gabe Strong

...I blame the 5D for confusing the issue, because now many still photogs are trying to move to motion shooting. :)

OTOH, even the standardization of Super 35 in your markets is bound to change...

[Mike Paunovich]

Originally Posted by John Yingling

One other question I had (aside from the original) is on the Ninja 2 :

I leave for China, South Korea, and Japan in 11 days. Part of me really thinks I should get a monitor for such an epic endeavor. I'd love to get ProRes from a Ninja 2 for workflow as well.

The hectic, bumpy run and gun environments I'll be in...though..I'm not sure if it'd be worth the hassle / risk of it keeping disconnecting. Seems like theres a 50/50 split for using it as a monitor.

Thoughts?

I'd love to hear what you ended up using and the results. I have a C100 & Ninja 2. It's a great combo, but the Ninja 2's screen is terrible. You can't judge anything related to image quality. I saw the Ninja Blade at NAB and it has a very nice screen - comparable to a SmallHD monitor.

Using the Ninja would give you ProRes and a backup recording - two very good reasons to use it. Since the screen sucks, you may want to mount it in a way that makes it easier to handle and rely on the built in C100 screen.

Then there's the Ninja Star, but CFast cards are expensive.

[Matt Davis]

Then there's the Ninja Star, but CFast cards are expensive.

I think the Star uses the CFast 1 cards, which are a lot cheaper. More to the point, Jeromy from Atomos showed Atomos branded CFast 1 cards that were 'fit for purpose' at about $160 for a 64GB card and $238 for a 128 GB card:

CineGear - Atomos Ninja Star and Cheap CFast Cards & Reader on Vimeo

Hmm. Well, yes, not exactly cheap compared to SDHC... but compared to, say, CF?

[Doug Thompson]

I've been using the Ninja 2 on my C100 when shooting for broadcast clients and the product has suited their needs. I ordered a Ninja Star on Monday and it will be here later today along with three 64GB CFast cards. The size seems perfect for run and gun shooting.

For sound, I generally use the Audio Technica 1800 dual channel wireless receiver.

[Seth Bloombaum]

Originally Posted by Doug Thompson

...For sound, I generally use the Audio Technica 1800 dual channel wireless receiver.

Doug, how are you mounting that receiver? I like everything about it, but mounting options seem almost non-existent.

[Doug Thompson]

Seth:

I use the BEC wireless receiver holder mount that attaches to either the AB battery mount, the Redrock Micro C100 cage or a vertical shoe adapter. It's felt-lined and protects the receiver.

The holder costs $75 from B&H and other sources.

Doug