Anti-Theft
Protecting your equipment and crew doesn't start and stop on set, it's a full time objective that deserves the utmost attention. Safely and securely storing your equipment, transportation to and from set, and diligence on location, safety and security are a top priority. There are a few main areas to focus on when it comes to protecting your equipment and personal property from theft.
First, how secure is your equipment at your home/office/studio? Do you have a gear cage, are the cases locked, how inconspicuous is your setup? Cages are not cheap, for sure, but there are some steps you can take to protect your items if that setup won't work for you. Padlocks and zip ties on gear won't necessarily stop the item from being taken, but it may deter a potential thief from knowing what you have. From our experience (unfortunately), not every thief knows the value of that Sennheiser MKH416 shotgun microphone, or that that Sigma Cinema lens is more expensive than the Sony a7S. Instead, they'll go for headphones, laptops, things they recognize. This can be a good thing if they make off with something relatively inexpensive and easy to replace, but being robbed is always a horrible experience. Being inconspicuous has real value, what can you do to make it as difficult as possible to see/recognize your equipment? What can you do to conceal your items going in and our of their storage place? Work harder than the thief would. Think like a thief. Have people you trust look at your setup and make sure you're not missing something.
Gear in your car. Here's a difficult one. You've got to get it to location somehow, and sometimes you need to leave your equipment in your vehicle while you grab food, get gas, etc. One thing you should never, ever do, is leave gear in your car overnight. At very least, take cameras, lenses, microphones, computers, all the really good stuff that thieves will recognize, and bring them with you. A couple extra cases lugged into your hotel or even into Chipotle is worth not getting broken into and robbed. Thieves work quick! You may think you're just having a 20 minute meal, but it only takes a couple minutes for someone to walk by your vehicle, notice that laptop bag on your passenger seat, and smash and grab.
Lastly for now, gear on set. Just because you've made it on set, does't mean you're safe. Do you know everyone on set? Are there additional staff, people around who may have an opportunity to grab something? It's one thing for someone to walk by your vehicle and know what they're looking it, it's a whole different story once all your amazing equipment is out in the open. If you're in a room at the L.V. Convention Center, the Sands Expo, or a suite at Mandalay Bay, make sure that you know your gear is watched over before you run off to grab a coffee or leave for the evening.
In conclusion. You don't want to live paranoid, but you also don't want to have your expensive and wonderful equipment stolen. Be diligent, invest in insurance, and be smart. A lot of this is simply premeditated steps you can do to ensure that you're operating using good habits. Best of luck, and see you on set!
Matching cameras on Multi-camera shoots.
How important is it to match cameras (make and model) on multi-camera shoots? Like everything in production, that depends on your end goal. Generally speaking, you always want to match not only brand (make), but also the model of camera. There are differences for instance, between the image produced by a Sony FS7 MkII and a Sony a7S II, but it's not a huge difference. You could dive into the specs of the processors, image sensors, color space, etc., but when push comes to shove, they're very similar. Let us hypothesize a few scenarios:
Two-subject, three-camera interview. Budget is always the driving factor in production. Using a DSLR as your lock-off wide shot for a two or three person interview is great. You can easily match shooting specs, and shoot without a color profile. Additionally, run audio to your nicer cameras capturing the singles, and you're great.
Event coverage with interviews. If you have the budget to have a Sony FS7, Canon C300 MkII, or similar, you want to take advantage. However, getting smooth gimbal or slider shots is much easier with a DSLR and Ronin-S or Cinevate Duzi (think small and light). The b-roll that you're using to compliment your interviews will look great as long as you're matching camera makes (Canon with Canon, etc.)
Different cameras, same assignments. If you have two crews capturing similar content, but using different brands of cameras. The common viewer may not notice, but an experienced client probably will.
All in all, while the world won't end if you mix camera brands or models... life will be easier if you don't.
An Epic Upgrade
With the announcement of Red's latest camera we were one of the first to send our camera in for a Dragon upgrade. Looking forward to the NAB announcement and adding a Red Weapon to out arsenal.