23:21 "Because I want to" should be all the reason anybody needs to do anything if it makes them feel motivated to create. Glad to see you're making a return, and focusing on doing stuff that inspires you to build/tinker/create!
One thing I've never commented on is that one of the reasons I love your videos is that your voice and the way you track it it soooo smooth dude, you're super easy to listen to. Sometimes I use your videos as white noise while I rig my gear lol
I used to build rigs like this but got to the place where I started placing a higher value on my TIME. If you have the time to build it up, break it down, fiddle with all these parts, then that’s great, and I’ll admit it can also be fun. Nowadays, it doesn’t matter what I’m shooting, my FX6 comes out of the bag with the same couple of accessories that live on it, I shoot, it goes back in the bag, that’s it. If it’s not the perfect tool for the job, I use it anyways - and nobody seems to notice or care. I barely touch the thing in between jobs and thats exactly what I’m looking for now. I feel like such a grumpy old guy. I will say this: Caleb’s rig is FANTASTIC for situations where you want to excite a client or producer. It seems silly but let’s not pretend it’s not a thing.
Manual wireless focus, wireless video transition, matte box to block glares, 1 battery that powers everything for 7 hour continuously, bigger monitor to see what your doing, timecode to sync everything up, SDI for broadcast situations. Yeah I don't think anything on here is supposed to just excite a client or producer. I'm tired of the whole "You only need a camera and a lens" deal.
@@davidanderson2567 but really, thats all you need. or at least have it pre built before coming to your job witha client. If you're on a high end gig that has the time and money to hire assistant cameras and a big crew, then go for these. But, realistically, everyone is going to work with a 2-4 people crew on client work. As long as it gets the job done and makes the client happy, thats what ultimately matters, especially when you are trying to save on expenses.
This is a DREAM of a rig imo, because you have literally all you need for a really dedicated shooting environment. I know some will think this is overkill, but for a setup where you get 7 hours of shooting time with it and as easy a swap of a V-Mount battery to continue, this is pretty good. Traveling by plane with this is probably a nightmare tbh, but at that point I'd be getting a travel FX3 for the same of sanity. I know you have a more atypical approach to how you hold this camera rig, but since it is so heavy, please invest in at least some sort of shouldering system so we can save your back from the pressures of having a heavy and cool ass rig.
Last night i went out with my zv-e1 rig and halfway through, I decided to remove the monitor, the side handle. the top handle, then the smallrig battery, the follow focus and the cinema lens. I left the cage on and used the 28-60 kit lens and that's when the realization hit me... the result was pretty much of the same quality, but I shot twice as much in half the time without having to worry about gear. I think this changed how I view pretty much everything about cameras. btw, I love your rig. It's the ultimate "I can so I will". Weight is 10000% a game changer in terms of stabilization. I think a baseplate that weighs a Kilo would be amazing, made out of whatever is the heaviest most dense metal.
I've had the same realization, and it was a change for the better. After having all of the bells and whistles, it was satisfying to scale back and see my work progress. Carried around too much for too long, especially when the gear for production is rented anyway.
Both of you reinforce the advantage of having a smaller camera that CAN be rigged out if needed. When I'm out on leasure or vacation, I just have an FX3, a couple batteries and a lens, maybe two. Then I'm getting great footage with almost no effort. When I'm on a shoot that will last a minimum of 8 hours, there's a lot going on around me and it's hard to see the tiny screen for critical things like client logos or messaging not being fully in focus, false color for skin tones on interviews, etc. I'm FOR SURE rigging it out. I need those 10 hours of v mount battery power and a monitor running all day.
That Camera Setup is Totally The king of Boss of Cinema Cameras....Your Imagination is 😊😊Wow 👌 ...Love Love it Please Don't Stop...keep up the good work... Hollywood Movie is about Incredible imagination for the big screen... You got My Vote for The Oscar 2025 award😊 ...Be Bless .. .
no need to stress caleb, dont appoligize for the epic - your riggs have always inspired creativity, and you cant get that anywhere else out here. keep it up!
Thanks, that would have been my question. As someone else pointed out, I could get a used Venice 1 and have spare cash for an FX3 for those small run&gun / riggen hidden camera setups. That being said, I do love the fact, that there is an option to build out your camera for this if you wanted to.
@@simvid8107 whether it’s a Venice or not the fx3 is really not a great sensor when you start getting up in price vs other cameras. It would be cheaper to have an fx3 and a more capable camera with a lot of those features built in. Even just hopping to the fx6 is a big step up on image quality. The fx3 is excellent for its price, it’s not some kind of cheat code. It’s easily outclassed by more expensive cameras
First off, love the video and all the thought and research that went into this buidl. I am very happy it's the perfect setup for your usecase. When you're bidding for jobs, saving minutes per shoot can save you $1000s/yr. Over many years I've learned that modular is cool in theory but a jack of all trades with less friction for use is more important. The Ronin 4D is the perfect camera, pull it out and turn it on. Our use case: real estate media, corporate videos, tripod interviews, run and gun event coverage.
I've been really stuck between the fx 6, red komodo x and the ronin 4d, i want to do a more solo filmmaking approach with small crews occasionally for commercial work like you have mentioned but i also want it to absoutely crush in narrative too which i will be doing soon. Any suggestions?
@@hyperaxx2180for the reasons I listed above I would never shoot on anything besides a Ronin 4d ever again tbh. However if weight is a concern and you don't have a fly cam backpack, highly recommend something lighter. It gets very tiresome after several days of shooting the Ronin. - Tristan
@@hyperaxx2180All of the cameras would be great as a cams for a small production, personally I would only consider the other ones if you have a first AC to help with Lynn swaps and focus pulling
"Because I want to" The perfect phrase for anyone with a camera setup. Love your build and definitely got some inspiration for upgrades to my setup. I use a Lumix G7 (Old I know) for broadcasting and 1080p/60fps works great. If you could somehow make a CineBack for the G7/G85 cameras I would buy one! I use my G7 still instead of upgrading "because I want to" and it's still a great platform
Playing the devil's advocate here, setting up a rig takes up so much time that I end up just having to pop the camera on a tripod; it works just as well as a rig.
All I can say is , INSANE rig , combination of cinema lens , wireless transmission , also DJI Focus Pro system that made cinema lens able to auto focus perfectly. Imagine mount it on steadicam stabilizer system , could be more stunning.
Sony: We made this amazingly compact cinema camera with tons of features! I hope people really love the compact size! Caleb: Let me make this camera as big as possible....
Amazing build as usual Caleb, Awesome. Honestly every single reason you listed for wanting to own this kind of setup are my exact reasons and I share your sentiment on this 100%. Except I can't afford this, I would definitely build one for myself without thinking twice if I could. Well done.👍
This thing is perfect A dream setup for sure Gonna be taking some notes out of this for my rig I think this is the first rig I've seen done well using the cineback as a base Saw many rigs out there that aren't well maximized or balanced for tripod and low angle operation or maybe easy rig operable
Glad it meets your expectations. Congrats! For me, for what I do, it's got too much shit to potentially go south. I come from the field broadcast side of the 80s. I just moved to shooting indies and docs using broadcast gear. I'll take a ready to rumble, anytime, anyplace, super-durable shoulder-mount ENG with a Fujinon 18X with built-in 2x. No encyclopedia menus, Medusa-cabled. All the essential settings on the operator side. I can use mine in light rain. No overheating, cooling fans to suck in dust, etc. That's just a lotta shit for field use. I just have a mattbox and follow-focus knob that never leaves the cameras. The bottom line is that they balance nicely.
Okay hear me out. 7 hours of battery life is the biggest benefit of that rig. Unreal that Two batteries could get you through a full day. Sounds like a dream.
Just bought the cineback for my A7iv. Had to do get some extra parts to swap out in order to use the K3M but man does is help to create a powerful Doc camera rig for these smaller mirrorless cameras. Shipping was exceptionally quick to AUS too.
I love seeing what your dream rig is! I’ve followed for years, and I’ve loved seeing your thoughts on individual pieces, but seeing it all together is a great insight into your thought process. Why stainless steel for the rods? Wouldn’t carbon fiber be a little more rigid and weigh less?
Love the video - and this looks really cool - and it functions great too - but do you actually USE this? And if so, could you provide some BTS shots of a client shoot that you used this rig? What applications would this be used for? Surely not a wedding. Not a sit down interview - although if you have MANY interviews back to back this could help with that. Just curious and glad to see more videos from you!
Hey Caleb, Great video and I 100% agree with you . I am still happily shooting all my docs with my built out R6. The extra weight makes all of my handheld interviews much more steady. I love shooting stills with my camera as well which I can't do with the C200 or C300. There may come a time when I look at the C400 but for now I am more than content with what I have. I saw the you are going to be making a cineback for the R6 - I can't wait to integrate that into my current rig. Especially the D-Tap breakouts. right now I am using a Condor Blue breakout that is screwed to my v-mount battery plate. It works, CIneback will work better. Glad to see you back and making the videos you WANT to make. Cheers!
BRAVO! This rig is for the shooter who can probably afford the FX6 or FX9 (maybe already has one) but wants to get the absolute most out of their FX3, possibly use it on a multi-camera shoot like a big budget commercial or feature film. "Just buy an FX6" is completely beside the point. You can't just detach the "brain" from the FX6 and suddenly run-n-gun with a smaller camera. This is like the cinema camera version of a Transformer lol.
So I have this ZV-E1 -- which I've grown to love... I have to work extra hard in post get my $12K RED camera to look as good as this little Sony. So now I just spent $thousands of dollars to build out the same rig you have in this video. Even bought an EasyRig to fly it under. Go figure.... :)
Caleb, these less-frequent, more elaborate reviews of your creations are just next level. You have found a way to pack so much information into a simple 26min video. You might be able to sell camera rig packages with a small manual for whomever is searching for a similar rig. I am happy to see you being so energized about this vid. Love the work!
I’m thinking with the price drop on the Red KX, might be easier just to upgrade to an actual cinema camera or FX6. That said, if you already have allot of this, then it could make sense I guess. It looks crazy intense.
Nice setup! I’d love to maybe see a similar setup with the Panasonic GH7 with the Voigtlander lenses. Pair that with a bit of rigging, a nice monitor, the DJI Focus Pro, and a good battery…and I feel there’s some potential for it to be a decent setup for the budget.
For the cables, Techflex or some other kind of sleeving for bundles and runs of wires will keep them secured and out the way. Might be worth making runs of cables to keep them from hanging about everywhere
I love the texture you have here in your shot here. I'm curious if you used a lens filter and if so, which one. I'd love to purchase one for an upcoming project I'm filming. I think it'll enhance some pretty crucial moments.
Seems like adding the timecode box, SDI converter, and ND filter adapter is weird and redundant when you could rig up an FX6 with all the other peripherals. You'd already have built in ND, auto ND, locking timecode in/out, sdi out, LUTs, plus full size XLR in if you use the Sony top handle, as well as all the convenient operator side shortcuts and controls. As someone who shoots commercials on the FX6 on a regular basis, this rig would be a nightmare to deal with. Especially shoulder mounted or trying to get good side to side balance on an Easyrig. My ACs would absolutely hate me for it. It's just convoluted and sloppy and seems unnecessary. No one is going to tear this down mid-shoot to take photos with an FX3.
To be fair, that's why the video is titled "My DREAM Cinema Camera Rig". Caleb is explaining why HE loves it so much, not why it's the best rig for everyone in every situation.
Mostly true but again, rigs are personal and depend a lot on how/what you shoot. The benefit of starting with a small camera like an FX3 is that you can place ports and accessories where YOU want and not have to use Sony's top handle to get audio (which is dumb for a $6k camera).
There was a time this way was the craze for me. Nowadays I prefer my setup as basic as possible. It’s a very cool looking build, but it has too many moving parts that can cause issues in a work environment.
This rig is epic. Beautifully crafted. I love that when you run into a problem that isn't solved yet you just solve it yourself. How did you cut the cage? angle grinder or hacksaw?
what I feel is missing is a wireless follow focus system that allows for dual manual focus control, so that you can control focus not just from the side handle, but also from another, possibly small form-factor, focus wheel mounted on e.g. a 1/4-20 hole somewhere else on the rig (e.g. like the PDMovie PDL-TC-AFX). ideally integrated with the Lidar AF, so that you can still have the Lidar do its thing, but then use either of the two manual follow focus control wheels to fine-tune the focus and/or instruct the Lidar AF to which detected zone of interest to focus
Yeah they went pretty hard with video because the R5C did really well. I think they will be coming out with an R5C2 or the c70 2 not sure which camera it is yet. You probably should have got an R5C but I understand wanting the newest one!
I dream of a camera that does everything right out of the box, without the need for adapters or third-party products. Something like a Sony PXW-Z200, but with a full-frame sensor.
@@jasonmarotta9545 You're entirely correct, though I think the purpose of a video such as this is to market products, i.e. links. In actuality it's his personal preference, though I believe the FX6 is a better base.
Hey Caleb. Looks a lot like Shane Hurlbut's cinema rigs (both Canon Eos and RED setups). I think the rig looks great, but I have some questions. 1. At this point, wouldn't it make sense to shoot raw with an external recorder? It seems it's a lot of rigging and toys to come out with "just" XAVC footage. On a large production continuity and post production will definitely thank you for the meta data that raw footage provides. 2. How are you hand holding it? Is shoulder mounted camera just not an option for you? I have the impression it's a pretty heavy rig to hand hold. Shoulder mounted this type of configuration begs for an EVF (Like Shane's) .The FX3's HDMI's port noticeable lag could be an issue if you are operating on an EVF, I guess, but it applies to the monitor you are using too. One thing I think would have been great to include on your video is that these types of rigs, aren't used just because you feel like it or they look cool. Rather, they respond and are actually ideal, for team based or crew based (as opposed to one man band) setups. Might be why a lot of your viewers don't get it.
On a deep animalistic engineer level I really love these kinds of rigs, where everything seems to fit together and has been thought through from multiple angles. And on a much more practical level I'm thinking: why not get two cameras at this point? There are many "hacks" in this rig that wouldn't need to exist if Caleb went for a decent sized cinema camera with professional I/O and got a side cam for the things that require being inconspicuous. Again, I like the hacks and enjoy seeing them, but it still feels like finding solutions to problems that shouldn't exist. Just the rigging here costs almost as much as a good used Ursa 4.6K G2 package, for example, which has amazing I/O, size, and image quality.
Hi Caleb I was wondering if you do a lot of video projects where you use this rig. I would imagine that a youtube channel takes so much time that you might no even have time to enjoy the rig you built in the wild. Very curious.
If you notice, he rarely does actual video work. No documentaries, no commercials and you never see him on a set of anykind. He is just building rigs with zero justification because they aren't going to be actually used. And you can tell because his canera builds are not balanced which will either making balancing an easy rig hard AF or will break youe back within 30minutes of use
@@CallMeRabbitzUSVI He also has a financial incentive with a few of the items in the build, so it's like a grassroots style ad for the cineback, SDI converter holder and the 212 Smallrig battery. His business is to build stuff and sell the builds to those who think they might benefit from them (I'd wager to more of an amateur crowd).
Hey man. First off all, great video! Loving your content on the other side of the pacific as well. I saw that you have the cineback for the s5IIX coming up. Is this gonna be usable for the s1h as well? If not, will there be a version for the s1h?
Can we get a shorter cheese plate for the canon cineback. I would love a shorter cheese plate to close out the gap in the cineback that would make the lcd fit better in the lcd slot for the canon r6, since we dont all have r5c.
The Cinebox is really cool, very clever screen flip out design, and awesome battery. So many thoughts, first, is that this really solidifies my thought that the Ronin 4d, 6k or 8k, is really the best deal for a solo/ small production, it does 90% of what this rig does all built in, with the addition of a z axis gimbal. Second, really what is the point of the matte box? With built in filtering in the PL adapter, it isn't being used for filters, and without barn doors it isn't acting as a lens hood. One part of a matte box that is honestly understandable is just to get one for the "Pro Look", which really is important on jobs so I can understand that. But this one is $1500, the price of a Sigma FP camera, which paired with an SSD can record arguably higher quality video than the FX3 ever can internally. Also nothing for audio? I guess that's what the time code is for. I've always leaned toward good off camera audio, but have recently found that throwing on some kind of easy wireless system like the Hollyland m2 is just really convenient as a backup audio source.
Worth looking into the LNKcine quick release connectors which, unlike the Kondor Blue quick releases, have two identical halves and lots of options for locating pins.
If one cam gear setup then rig or de-rig setup will take time. Even creator crew used it as b or c cam on gimbal small setup as compare to Venice. If you have two fx3 then build one rigged and second one incognito mode. All and all the choices are varying on project approach.
![Blox Fruits Dragon Rework Update [Full Stream]](http://i.ytimg.com/vi/EqDAp8udhm0/mqdefault.jpg)
23:21 "Because I want to" should be all the reason anybody needs to do anything if it makes them feel motivated to create. Glad to see you're making a return, and focusing on doing stuff that inspires you to build/tinker/create!
As someone who owns and operates a cinema camera on a regular basis without assistance, I have major respect for this guy and his new rig.
One thing I've never commented on is that one of the reasons I love your videos is that your voice and the way you track it it soooo smooth dude, you're super easy to listen to. Sometimes I use your videos as white noise while I rig my gear lol
Rig build videos are therapeutic
Agreed
I used to build rigs like this but got to the place where I started placing a higher value on my TIME. If you have the time to build it up, break it down, fiddle with all these parts, then that’s great, and I’ll admit it can also be fun. Nowadays, it doesn’t matter what I’m shooting, my FX6 comes out of the bag with the same couple of accessories that live on it, I shoot, it goes back in the bag, that’s it. If it’s not the perfect tool for the job, I use it anyways - and nobody seems to notice or care. I barely touch the thing in between jobs and thats exactly what I’m looking for now.
I feel like such a grumpy old guy.
I will say this: Caleb’s rig is FANTASTIC for situations where you want to excite a client or producer. It seems silly but let’s not pretend it’s not a thing.
Manual wireless focus, wireless video transition, matte box to block glares, 1 battery that powers everything for 7 hour continuously, bigger monitor to see what your doing, timecode to sync everything up, SDI for broadcast situations. Yeah I don't think anything on here is supposed to just excite a client or producer. I'm tired of the whole "You only need a camera and a lens" deal.
@@davidanderson2567 but really, thats all you need. or at least have it pre built before coming to your job witha client. If you're on a high end gig that has the time and money to hire assistant cameras and a big crew, then go for these. But, realistically, everyone is going to work with a 2-4 people crew on client work. As long as it gets the job done and makes the client happy, thats what ultimately matters, especially when you are trying to save on expenses.
This is a DREAM of a rig imo, because you have literally all you need for a really dedicated shooting environment. I know some will think this is overkill, but for a setup where you get 7 hours of shooting time with it and as easy a swap of a V-Mount battery to continue, this is pretty good. Traveling by plane with this is probably a nightmare tbh, but at that point I'd be getting a travel FX3 for the same of sanity.
I know you have a more atypical approach to how you hold this camera rig, but since it is so heavy, please invest in at least some sort of shouldering system so we can save your back from the pressures of having a heavy and cool ass rig.
Last night i went out with my zv-e1 rig and halfway through, I decided to remove the monitor, the side handle. the top handle, then the smallrig battery, the follow focus and the cinema lens.
I left the cage on and used the 28-60 kit lens and that's when the realization hit me... the result was pretty much of the same quality, but I shot twice as much in half the time without having to worry about gear. I think this changed how I view pretty much everything about cameras.
btw, I love your rig. It's the ultimate "I can so I will". Weight is 10000% a game changer in terms of stabilization. I think a baseplate that weighs a Kilo would be amazing, made out of whatever is the heaviest most dense metal.
I've had the same realization, and it was a change for the better. After having all of the bells and whistles, it was satisfying to scale back and see my work progress. Carried around too much for too long, especially when the gear for production is rented anyway.
Both of you reinforce the advantage of having a smaller camera that CAN be rigged out if needed. When I'm out on leasure or vacation, I just have an FX3, a couple batteries and a lens, maybe two. Then I'm getting great footage with almost no effort. When I'm on a shoot that will last a minimum of 8 hours, there's a lot going on around me and it's hard to see the tiny screen for critical things like client logos or messaging not being fully in focus, false color for skin tones on interviews, etc. I'm FOR SURE rigging it out. I need those 10 hours of v mount battery power and a monitor running all day.
Came from a rigged Black Magic setup to a minimal 20mm prime ZVE1 gimbal setup. Pretty much feel the same way as you do. Less is more in my workflow.
THIS!
That Camera Setup is Totally The king of Boss of Cinema Cameras....Your Imagination is 😊😊Wow 👌 ...Love Love it
Please Don't Stop...keep up the good work...
Hollywood Movie is about
Incredible imagination for the big screen...
You got My Vote for The Oscar 2025 award😊 ...Be Bless
..
.
no need to stress caleb, dont appoligize for the epic - your riggs have always inspired creativity, and you cant get that anywhere else out here. keep it up!
If you're curious, it's at least $19,065
An unsung hero
That's a lot of money for what can only reach the quality of the FX3. It's more than a used Venice 1, which was a hero camera from last gen.
Thanks, that would have been my question. As someone else pointed out, I could get a used Venice 1 and have spare cash for an FX3 for those small run&gun / riggen hidden camera setups.
That being said, I do love the fact, that there is an option to build out your camera for this if you wanted to.
@@simvid8107 whether it’s a Venice or not the fx3 is really not a great sensor when you start getting up in price vs other cameras. It would be cheaper to have an fx3 and a more capable camera with a lot of those features built in. Even just hopping to the fx6 is a big step up on image quality. The fx3 is excellent for its price, it’s not some kind of cheat code. It’s easily outclassed by more expensive cameras
Like for real? Did you do the maths or is it a joke? Like I know it's way more than 6k but didn't think it would be 19k hahaha
First off, love the video and all the thought and research that went into this buidl. I am very happy it's the perfect setup for your usecase.
When you're bidding for jobs, saving minutes per shoot can save you $1000s/yr.
Over many years I've learned that modular is cool in theory but a jack of all trades with less friction for use is more important. The Ronin 4D is the perfect camera, pull it out and turn it on.
Our use case: real estate media, corporate videos, tripod interviews, run and gun event coverage.
I've been really stuck between the fx 6, red komodo x and the ronin 4d, i want to do a more solo filmmaking approach with small crews occasionally for commercial work like you have mentioned but i also want it to absoutely crush in narrative too which i will be doing soon. Any suggestions?
@@hyperaxx2180for the reasons I listed above I would never shoot on anything besides a Ronin 4d ever again tbh. However if weight is a concern and you don't have a fly cam backpack, highly recommend something lighter. It gets very tiresome after several days of shooting the Ronin.
- Tristan
@@Triflixfilms do you think it’s a good option for narrative with small crews as an A cam?
@@hyperaxx2180All of the cameras would be great as a cams for a small production, personally I would only consider the other ones if you have a first AC to help with Lynn swaps and focus pulling
"Because I want to" The perfect phrase for anyone with a camera setup. Love your build and definitely got some inspiration for upgrades to my setup. I use a Lumix G7 (Old I know) for broadcasting and 1080p/60fps works great. If you could somehow make a CineBack for the G7/G85 cameras I would buy one! I use my G7 still instead of upgrading "because I want to" and it's still a great platform
lol, I love the accoutrements of the “yes it’s heavy” and “this is my rig”.
Really cool rig, thanks for sharing it with us.
It is a rig design to sell affiliate links. not to make films
@@personal4528 Heh, let me know which gear used to make films isn't made by a company engaged in commerce so we can all buy Das VolksKamera.
Playing the devil's advocate here, setting up a rig takes up so much time that I end up just having to pop the camera on a tripod; it works just as well as a rig.
All I can say is , INSANE rig , combination of cinema lens , wireless transmission , also DJI Focus Pro system that made cinema lens able to auto focus perfectly.
Imagine mount it on steadicam stabilizer system , could be more stunning.
So happy you're with killer rigs!
Sony: We made this amazingly compact cinema camera with tons of features! I hope people really love the compact size!
Caleb: Let me make this camera as big as possible....
This is cool. Love the tinkering and evolution!
Amazing build as usual Caleb, Awesome. Honestly every single reason you listed for wanting to own this kind of setup are my exact reasons and I share your sentiment on this 100%. Except I can't afford this, I would definitely build one for myself without thinking twice if I could. Well done.👍
man, I'm so happy with my simple rig, but wow, these are so cool. If I won the lottery, one of the first things I'm doing.
Glad you are enjoying our MUTINY products. Thank you for showcasing them in this video. Most appreciated.
Love all the manufacturing stuff you're doing. "Couldn't find X...I'm just going to make Y". Yes.
Looks absolutely killer.
This thing is perfect
A dream setup for sure
Gonna be taking some notes out of this for my rig
I think this is the first rig I've seen done well using the cineback as a base
Saw many rigs out there that aren't well maximized or balanced for tripod and low angle operation or maybe easy rig operable
Some of us just like components and building stuff. I think just having fun is enough to justify any “ridiculous” rig.
Glad it meets your expectations. Congrats!
For me, for what I do, it's got too much shit to potentially go south. I come from the field broadcast side of the 80s. I just moved to shooting indies and docs using broadcast gear. I'll take a ready to rumble, anytime, anyplace, super-durable shoulder-mount ENG with a Fujinon 18X with built-in 2x.
No encyclopedia menus, Medusa-cabled. All the essential settings on the operator side. I can use mine in light rain. No overheating, cooling fans to suck in dust, etc. That's just a lotta shit for field use. I just have a mattbox and follow-focus knob that never leaves the cameras. The bottom line is that they balance nicely.
👑 Very true outro. 👏🏻
Okay hear me out. 7 hours of battery life is the biggest benefit of that rig. Unreal that Two batteries could get you through a full day. Sounds like a dream.
Merci broh ❤🤝🏽👍👏🇭🇹
Just bought the cineback for my A7iv. Had to do get some extra parts to swap out in order to use the K3M but man does is help to create a powerful Doc camera rig for these smaller mirrorless cameras. Shipping was exceptionally quick to AUS too.
I have watched this about five or ten times. S tier. Awesome build.
BT just announced the new TITAN ARM 2. I have the first one and I love it too!
Gran trabajo, Caleb.
Un abrazo enorme desde Santiago de Chile (Latin-America).
Versatility is what makes this setup great for any video requirements
absolutely love this! cameras are worth far more than their image quality, connectivity is what people are often paying extra for :)
I love seeing what your dream rig is! I’ve followed for years, and I’ve loved seeing your thoughts on individual pieces, but seeing it all together is a great insight into your thought process.
Why stainless steel for the rods? Wouldn’t carbon fiber be a little more rigid and weigh less?
Love the video - and this looks really cool - and it functions great too - but do you actually USE this? And if so, could you provide some BTS shots of a client shoot that you used this rig? What applications would this be used for? Surely not a wedding. Not a sit down interview - although if you have MANY interviews back to back this could help with that. Just curious and glad to see more videos from you!
He cannot, because he does youtube. You are seeing all of his work on this channel.
Watched this entire vid and the GEM for meeee was the Mutiny R/S Button. THANK YOU!
Hey Caleb, Great video and I 100% agree with you . I am still happily shooting all my docs with my built out R6. The extra weight makes all of my handheld interviews much more steady. I love shooting stills with my camera as well which I can't do with the C200 or C300. There may come a time when I look at the C400 but for now I am more than content with what I have. I saw the you are going to be making a cineback for the R6 - I can't wait to integrate that into my current rig. Especially the D-Tap breakouts. right now I am using a Condor Blue breakout that is screwed to my v-mount battery plate. It works, CIneback will work better. Glad to see you back and making the videos you WANT to make. Cheers!
BRAVO! This rig is for the shooter who can probably afford the FX6 or FX9 (maybe already has one) but wants to get the absolute most out of their FX3, possibly use it on a multi-camera shoot like a big budget commercial or feature film. "Just buy an FX6" is completely beside the point. You can't just detach the "brain" from the FX6 and suddenly run-n-gun with a smaller camera. This is like the cinema camera version of a Transformer lol.
I agree. The difference though would be buying an FX6 would cost you at once while this build is progressive (maybe) without straining the pocket
I bet your work is awesome, would love to see it if you're ever inclined to share it. love your content.
loved every minute of this video.
Probably rewatch it a couple of times like the last ones.
So I have this ZV-E1 -- which I've grown to love...
I have to work extra hard in post get my $12K RED camera to look as good as this little Sony. So now I just spent $thousands of dollars to build out the same rig you have in this video. Even bought an EasyRig to fly it under. Go figure.... :)
Another labour of love clearly, thx, was inspired
All of your rigs are a dream to die for.
Caleb, these less-frequent, more elaborate reviews of your creations are just next level. You have found a way to pack so much information into a simple 26min video. You might be able to sell camera rig packages with a small manual for whomever is searching for a similar rig. I am happy to see you being so energized about this vid. Love the work!
i love when you showcase your builds
This Rig is amazing
Great Build!! have you tried other cages that will fit the breakthrough photography mount?
That rig is insane , really love it
Love this new set, and I enjoyed this video.
I like this tank of video setup, I wonder, why the audio system is missing on this rig?
Waiting for that hdmi to sdi 3d printed mount to be posted on the website soon.
MaxTac squad is on its way)
I’m thinking with the price drop on the Red KX, might be easier just to upgrade to an actual cinema camera or FX6. That said, if you already have allot of this, then it could make sense I guess. It looks crazy intense.
Nice setup! I’d love to maybe see a similar setup with the Panasonic GH7 with the Voigtlander lenses.
Pair that with a bit of rigging, a nice monitor, the DJI Focus Pro, and a good battery…and I feel there’s some potential for it to be a decent setup for the budget.
For the cables, Techflex or some other kind of sleeving for bundles and runs of wires will keep them secured and out the way. Might be worth making runs of cables to keep them from hanging about everywhere
Awesome rig!
I am also annoyed by the barrel connector on my Indie 7, so curious to see what you'll come up with for that 😊
I want there to be lateral rails on the FX3 cage so the camera body can be slotted into the rig as quickly as a Nintendo cartridge.
Hey! Will there ever be an S1H cineback? I'd love to have one, one day!
Good to see you back again, Caleb!
He's a great guy.
Titan Arm in anodized Orange is such a flex 👌
I love the texture you have here in your shot here. I'm curious if you used a lens filter and if so, which one. I'd love to purchase one for an upcoming project I'm filming. I think it'll enhance some pretty crucial moments.
Caleb, can you share us your footages you usually shoot? I want to know how practical these kinds of rigs you’ve introduced so far.
He’s not a cinematographer. He’s a RUclipsr that makes videos about gear.
I love these build videos, i don't care that I can't afford it.
Seems like adding the timecode box, SDI converter, and ND filter adapter is weird and redundant when you could rig up an FX6 with all the other peripherals. You'd already have built in ND, auto ND, locking timecode in/out, sdi out, LUTs, plus full size XLR in if you use the Sony top handle, as well as all the convenient operator side shortcuts and controls.
As someone who shoots commercials on the FX6 on a regular basis, this rig would be a nightmare to deal with. Especially shoulder mounted or trying to get good side to side balance on an Easyrig. My ACs would absolutely hate me for it. It's just convoluted and sloppy and seems unnecessary. No one is going to tear this down mid-shoot to take photos with an FX3.
To be fair, that's why the video is titled "My DREAM Cinema Camera Rig". Caleb is explaining why HE loves it so much, not why it's the best rig for everyone in every situation.
You cant make the FX6 small again in certain situation while u CAN do it with the FX3.
Mostly true but again, rigs are personal and depend a lot on how/what you shoot. The benefit of starting with a small camera like an FX3 is that you can place ports and accessories where YOU want and not have to use Sony's top handle to get audio (which is dumb for a $6k camera).
You still need a timecode box if you want to sync wirelessly.
Guys, if he used the fx6 he wouldn't be able to pug his Cineback product. Duh!
So COOL! I want to rig it even BIGGER. Waiting for my BM PYXIS.
There was a time this way was the craze for me. Nowadays I prefer my setup as basic as possible. It’s a very cool looking build, but it has too many moving parts that can cause issues in a work environment.
This rig is epic. Beautifully crafted. I love that when you run into a problem that isn't solved yet you just solve it yourself. How did you cut the cage? angle grinder or hacksaw?
what I feel is missing is a wireless follow focus system that allows for dual manual focus control, so that you can control focus not just from the side handle, but also from another, possibly small form-factor, focus wheel mounted on e.g. a 1/4-20 hole somewhere else on the rig (e.g. like the PDMovie PDL-TC-AFX). ideally integrated with the Lidar AF, so that you can still have the Lidar do its thing, but then use either of the two manual follow focus control wheels to fine-tune the focus and/or instruct the Lidar AF to which detected zone of interest to focus
WOW! 🤯👏🏼
Do you have a link to a single commercial project that you filmed with any camera rig?
Caleb ready to go shoot Sicario 3 with that rig
Yeah they went pretty hard with video because the R5C did really well. I think they will be coming out with an R5C2 or the c70 2 not sure which camera it is yet. You probably should have got an R5C but I understand wanting the newest one!
Caleb is BACK
I followed you bc of the great M43 videos. Good God, man! That's a big step from those.
Cineback is awesome
I dream of a camera that does everything right out of the box, without the need for adapters or third-party products. Something like a Sony PXW-Z200, but with a full-frame sensor.
I thought the nisis dont work with this pl adapter. Good to know they do! 2:19
FX6 Build would be awesome ❤
And cheaper, and way more ergonomic, and auto-VND, and... 🤔
@@jasonmarotta9545Yep, people are finally starting to realize this cineback system makes no sense
@@jasonmarotta9545 You're entirely correct, though I think the purpose of a video such as this is to market products, i.e. links. In actuality it's his personal preference, though I believe the FX6 is a better base.
@@jasonmarotta9545 but then you can't get all the kickback from affiliate links!!!!!
yo this looks so beautiful and functional
just got my fx30 yesterday and planing to get that cineback it looks amazing 🤩 . any coupons for us ?
Hey Caleb. Looks a lot like Shane Hurlbut's cinema rigs (both Canon Eos and RED setups). I think the rig looks great, but I have some questions. 1. At this point, wouldn't it make sense to shoot raw with an external recorder? It seems it's a lot of rigging and toys to come out with "just" XAVC footage. On a large production continuity and post production will definitely thank you for the meta data that raw footage provides. 2. How are you hand holding it? Is shoulder mounted camera just not an option for you? I have the impression it's a pretty heavy rig to hand hold. Shoulder mounted this type of configuration begs for an EVF (Like Shane's) .The FX3's HDMI's port noticeable lag could be an issue if you are operating on an EVF, I guess, but it applies to the monitor you are using too. One thing I think would have been great to include on your video is that these types of rigs, aren't used just because you feel like it or they look cool. Rather, they respond and are actually ideal, for team based or crew based (as opposed to one man band) setups. Might be why a lot of your viewers don't get it.
On a deep animalistic engineer level I really love these kinds of rigs, where everything seems to fit together and has been thought through from multiple angles.
And on a much more practical level I'm thinking: why not get two cameras at this point? There are many "hacks" in this rig that wouldn't need to exist if Caleb went for a decent sized cinema camera with professional I/O and got a side cam for the things that require being inconspicuous. Again, I like the hacks and enjoy seeing them, but it still feels like finding solutions to problems that shouldn't exist.
Just the rigging here costs almost as much as a good used Ursa 4.6K G2 package, for example, which has amazing I/O, size, and image quality.
Amazing to have you back bro
Will you be making a gold mount battery with small rig?
OLOOOOO REGRESÓ CON VIDEAZO
Caleb is back ❤
At this point I’d just shoot with an FX9 or C400
Me too
But you can't tear down an FX9 to the size of the FX3. Customizability is the goal here.
23:18
@@SxC97 🤣🤣🤣
At this point you will never get it 🤦♂
Hi Caleb
I was wondering if you do a lot of video projects where you use this rig. I would imagine that a youtube channel takes so much time that you might no even have time to enjoy the rig you built in the wild.
Very curious.
If you notice, he rarely does actual video work. No documentaries, no commercials and you never see him on a set of anykind. He is just building rigs with zero justification because they aren't going to be actually used.
And you can tell because his canera builds are not balanced which will either making balancing an easy rig hard AF or will break youe back within 30minutes of use
@@CallMeRabbitzUSVI He also has a financial incentive with a few of the items in the build, so it's like a grassroots style ad for the cineback, SDI converter holder and the 212 Smallrig battery. His business is to build stuff and sell the builds to those who think they might benefit from them (I'd wager to more of an amateur crowd).
Hey man. First off all, great video! Loving your content on the other side of the pacific as well. I saw that you have the cineback for the s5IIX coming up. Is this gonna be usable for the s1h as well? If not, will there be a version for the s1h?
Can we get a shorter cheese plate for the canon cineback. I would love a shorter cheese plate to close out the gap in the cineback that would make the lcd fit better in the lcd slot for the canon r6, since we dont all have r5c.
The Cinebox is really cool, very clever screen flip out design, and awesome battery. So many thoughts, first, is that this really solidifies my thought that the Ronin 4d, 6k or 8k, is really the best deal for a solo/ small production, it does 90% of what this rig does all built in, with the addition of a z axis gimbal.
Second, really what is the point of the matte box? With built in filtering in the PL adapter, it isn't being used for filters, and without barn doors it isn't acting as a lens hood. One part of a matte box that is honestly understandable is just to get one for the "Pro Look", which really is important on jobs so I can understand that. But this one is $1500, the price of a Sigma FP camera, which paired with an SSD can record arguably higher quality video than the FX3 ever can internally.
Also nothing for audio? I guess that's what the time code is for. I've always leaned toward good off camera audio, but have recently found that throwing on some kind of easy wireless system like the Hollyland m2 is just really convenient as a backup audio source.
Can you release more of these custom cages for other camera types? Like the canon r series?
You could try Rigid Pro, they build a similar cineback for a bigger range of cameras
Frankensteins masterpiece entered the room 😂
Worth looking into the LNKcine quick release connectors which, unlike the Kondor Blue quick releases, have two identical halves and lots of options for locating pins.
If one cam gear setup then rig or de-rig setup will take time. Even creator crew used it as b or c cam on gimbal small setup as compare to Venice. If you have two fx3 then build one rigged and second one incognito mode. All and all the choices are varying on project approach.
would love to see a breakdown of the tool tote in the background. Looks like some solid stuff.
22:10 is your camera mounted backwards ??
Y is the rig facing the counter balance knob side of that GH06 ???
Am I missing something obvious
Caleb!! Welcome back :)
Me, watching this video without any dslr camera but love to watch this kind of videos. 😂