Well I've had the Benro Aero4 for a week now, had a bit of a play with it, and will be taking it with me on a trip in 48 hours.

I went with the bigger Aero4 for two reasons:
1. I didn't like the size of the S2 head. It reminded me of the cheap 128RC Manfrotto head, which is awful on anything over about 12g.
2. My BMPCC, when rigged up, was higher than the weight limit of the Aero4.

Setting up the Aero4, I'm glad I went for the bigger one.

The tubes are surprisingly large for the weight, and feel quite solid. No tiny, flimsy tubes here, which is reassuring.

The S4 head is TINY! So far it seems ok but we'll see how it goes in proper field use this week. It's quite a lot smaller than my Manfrotto 500AH head.

I am not a fan of the pan bar. The only part of the kit that feels flimsy - I may look to replace it with something sturdier and more reassuring, as I don't like the amount of flex in it.

Leveller works well in the centre column.

One of the legs combines with the centre column to create a monopod, but there always seems to be a degree of... umm... persuasion required to get the centre column back in afterwards.

Weight feels good for a tripod of this size, benefit being it was so cheap I can buy another one if I need to, as opposed to the Gitzo solution. Working height is a lot higher than the Gitzo too.

Using the S4 sliding head really makes me aware of just how much I love the new Manfrotto heads that offer side load.

I like the Aero4 a lot more than I thought I would. It feels very solid, without being very heavy. Sure, the S4 head isn't an O'Connor, and the pan bar may as well be made of jelly, but Benro are onto something here.

Benro, if you're listening, so far all I want is:
- Make it out of carbon fibre, less weight, more rigidity
- Make the pan bar out of carbon too, or something just more reassuring and rigid. When I push on the bar, I want the head to move!
- Side load head please!

I got a discount on it through eBay's 15th anniversary sales, so paid about AUD$220 delivered, which is great value for a tripod with a levelling base and video head.

The real test will be this week. I'm heading to the Philippines for work, and the Benro will be coming with me to support my BMPCC rig and slider for some corporate work and hopefully some timelapse. I look forward to reporting how it goes!

BTW regarding the ThinkTank bags, I do have the LowePro CompuTrekker AW. It can strap on as a very hefty backpack and, of course, has wheels and a pull out handle. This is what I'd been using for my Sony PMW-EX XDCAM EX camera.
Lowepro Rolling Compu Trekker Plus AW Backpack LP34704-PEF B&H (http://www.bhphotovideo.com/bnh/controller/home?O=productlist.jsp&A=details&Q=&sku=370629&is=REG&fromDisList=y)

Now that you've had time with the Aero4 do you find the S4 head adequate?
I do wish it were carbon fiber and maybe managed the S6 head.

Had a shoot in the tightest of spaces. Usable area might have been 4' x 4' (1.2m x 1.2m) at most!

Had BMPCC and lenses in a smal LowPro backpack. My too heavy Sachtler tripod in its bag (still need to decide between Aero4 and their SF6 Carbon leg tripod). In a 32' PortaBrace bag I had two light stands, two Digital Juice Miniburst 128s and one Airbox inflatable soft box and my Sennheiser Wirecast EW100G3 Mic kit.

I used BMPCC with Lumix 12-35 set to 12mm and f2.8. I'd have used a Sigma 18-35 with SpeedBooster if I had the lens instead for a bit shallower DOF. I could have used a Nikor 20mm f4 lens with SpeedBooster which ultimately would be a little faster than the Lumix (would have been about as wide).

I had to do a "wrong side" key light since there was no room to place a light on the proper side. I tried the Airbox with the light at 4 o'clock but with no fill light it looked odd. Instead I moved the light right next to the camera at 5 o'clock without soft box so, ultimately, the face looks flat lit. There was an opposite side practical which worked as a bit of a hair/accent light.

The tripod was just outside the door. Just enough room for me to stand without falling down the stairs behind me. Yes the entire space was that tight.

Left is straight from camera shot ProRes LT. Middle is Grade in FCPX. He looked pale especially against the rich earth tones in the background so I did another color filter with color selection on face and graded that so he looked a bit more flush. BTW I was bothered by the white box on the monitor behind him but to change that we'd have to had cleared out of the room so his engineer (he's a an overnight radio show host) could change it. We determined it wasn't worth the interruption and delay. He was going on the air at midnight and we weren't able to start the shoot until 10pm.

craig-

wonderful description of your workflow.

it always makes good reading to see how others deal with the issues of production.

i thought the face grade version was far superior.

nor was i bothered by the monitor.

in fact, it offered another layer of separation from the background.

if it was there, you would have wished it was!

thumbs up.

be well.

rob
smalltalk productions/nyc

Small Living Room. Same Gear as above. There was about 4' from couch to wall and about 10' long.

Shot at f2.8 with Panasonic Lumix 12-35 lens at 12mm.

Two Digital Juice MiniBurst 128s. Key Right, Fill Left. Shooting on angle so I could increase my distance to the couch. You can see the bricks going slightly soft as they recede on the left. There was no room to move her away from the wall. Even closer to wall than previous shoot.

No Grade on Left, Basic Grade Left Center. Face Grade One Right Center, Face Grade Two Right which might be slightly too saturated and dark. Probably going with Face Grade One Right Center.
I did a color selection on the face but color was close to the brick which was also selected so I also did a shape mask to preserve the bricks.

You can see the kind of crazy cramped conditions I often shoot under and why I need a small SPC Kit.

If i may add my voice here this is my actual traveling alone kit in downtown Montreal in Canada:

Camcorder bag (Lowepro Roller 2):Sony PMW-200,Sony Wireless Mic(2), Sony Shotgun Mic,Sony Charger,
3 Sony Batteries BPU-60, Sony Small Headphone, Some SxS Cards, Total weight ... about 33.

Lighting bag Lite Traveler (Lite Panel), 2 1X1 Led Light Panel, 2 Extension of 30 Ft, 1 Power Bar, and
2 Nano Stand and believe-it or not Total Weight is about 27.

I have a smaller bag from Lowepro for DV Camcorders for lighter camcorder traveling who maybe about
Total Weight of about 23 but this one is only my estimation of his weight.

The tripod if required is about a weight of 9 to add to any combo traveling with me specified above.

So any combo kit is a Total Weight of around 50 to 60 plus the tripod if required reach 60 to 70.

All weight is in Lbs not Kilograms , can i have a lighter Pro Videographer kit ..... my finding seem No ...

Daniel have you read the thread? Seems not if you say you can't have a lighter pro kit.
My kit is down to about 20lbs. Look at Ryan's kit as well.

Also if those are your weights, you bags must be unusually heavy because the weight for the individual items add up to lower amounts.

Your, camera, Tripod, lights are all heavier than needed in many cases unless all your interviews are two people or more.

1x1 panels aren't needed for most interviews in my experience.
PMW-200, while nice, could be replaced with BMPCC, GH4 or even PXW-X70.
Lighter camera means lighter tripod.
This also means much smaller camera bag.

Yes Craig i have read the thread and more than one time believe me or not with great observation.
Your kit is really customize to be as light as possible for specific type of work you do i have note it.
My bags are very robust but soft type i cant imagine the weight of total hard-cases , must be heavy.

Many bags are around 5 , 7 , 9 Lbs when soft type and hard-case sometime around 13 or more Lbs.
My interview many peoples and corporate videos to of the kind you see on Doug Jensen interviews Training.
What i was expected from readers here was if at my type of working a lower kit was possible not at any cost.

I have found myself in situations to have an assistant required to travel with me instead of getting lighter.
I shoot in big room with more than two peoples often who require appropriate lighting Lite Panels do-it.
My end results are Blu-ray all the time and i use at least two wireless mic , hope you see my Workflow.

Lets conclude my post is about my work type and workflow and it take heavy equipement kit not typical.

From what you describe your work really seems to require an assistant. At the top of the thread I think I mention I do have much heavier gear and with that, I hire an assistant. At 60-70lbs it may mean a couple of trips back and forth to the car if you're by yourself. If it's a big location, as you describe, it would seem to involve walking back and forth the room as well unless, you have an assistant. Granted I guess you could shot with your kit as a single person but when I have to carry that much gear and, I sometimes do, I hire an assistant for most efficient work.

Note I titled this thread "Subway kit" and a kit your size would be difficult to manage alone on a train or even hailing a cab. It could even be stretch to carry all that with air travel. Once you have a car you can pack, that's a different single person crew which is what Doug Jensen does.

Your kit is fine for that. I'm not sure there's much lighter for what you do. 1x1 panels are lighter than the equivalent tungsten lights and a PMW-200 is lighter than the older shoulder mounts.

Your conclusion are right on target i think Single Person Crew is about one or two bags Maximum.
Also the bags should be around 15 to 20 Lbs maximum each and 30 Lbs for two is the ok target.
My lighter camera bag is around 23 Lbs loaded but cant escape lighting kit and tripod Workflow.

Thank-you about your POV, have a nice editing and shooting day.

Generally I will not do more then an interview on my own without a car. The camera goes into the backpack, tripods and lightstands into one bag and the lights in another. That can easily go in a cab or car service, a bit tough on a train or about half a mile walking. For theatrical or outdoor filming, I skip the lights and have even used my bicycle to get to jobs.

Any job that's complicated I will hire somebody to help.

Cabs and car service can be a life saver... assuming they can get you there on time. They can drop you off in front of the location so you don't have to lug to fare.

The problem with cars and single person crew is that you have to hunt for parking or use a lot (carpark) and not only does looking for parking take time but either street or lot parking can result in a bit of walk to the location. Once I need a car I usually need an assistant, even if their primary purpose is to simply drop me off at location while they then hunt for parking.

Camera and bike, that would probably make something like the Benro Aero 4 a good tripod option.

Curious what lights you're using William.

I have two small kits that I chose between depending on the job presented.

The first is a Lowel ViP three light halogen kit (two spots, one flood) that I supplemented with hardware store bought voltage dimmers. It's compact and great for interviews. Plus the case is soft but sturdy. I have had this kit for a decade.

I recently purchased an Ikan IFB576 LED kit with two variable color temperature lights and V-mount battery plates. It provides a good soft light with low heat and set-up fuss. Unfortunately it's bulkier and the stands are in a separate bag. Depending on the job I can pack the camera tripod with the stands so I am back to three bags. If I need my large Manfrotto tripod I have to struggle with two tripods bags.

I have a tungsten kit (Lowel Pro, Omni, Tota) but I'm moving to LED. I was thinking of adding iKan ID508v2 which is a little lighter than the IFB576
ID508-v2: ID508-v2 LED Studio Light w/Light Stand Mount | ikan (http://ikancorp.com/productdetail.php?id=998)
I'd really like to find even lighter but what I've seen I haven't liked.