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What's one of the best parts about being a video professional? All the cool gear! In this weekly series, Rich Harrington and Robbie Carman team up to discuss the latest and greatest equipment for video production and post. They talk about the newest cameras, like the Blackmagic 4K, pocket cinema cameras, and GoPros; accessories and adapters that will make your shoots run smoother; and the great tech being invented every day. And because they keep both cost and quality in mind, you'll never have to worry about blowing your budget or compromising production value. Come back every Friday for a new tip.
This series is from RHED Pixel. We're honored to host this training in our library.
>> We'll talk about some of the great things about this camera from its sensor to its sort of intelligently laid out controls. >> Yeah. >> Its simple menu system. However, there's you know, some things not to love about this camera and kind of as you probably guessed it, they're kind of similar problems that the black magic cinema camera has. So, let's start with your biggest dislikes about the camera. >> Well, one of the things that always bothers me is the choice of ports on the side. I like having an XLR audio port. So I can lock the audio cables in really solid.
And it seems weird to me that they went with a quarter inch. >> Yeah, so on the side here we have quarter inch jacks. And quarter inch is cool. But, you know what, the think about it, I feel is that like. I use quarter inch when I'm playing my guitar and plugging into my amp. Quarter inch is more of a kind of between, it's not quite consumer, it's not quite professional and because of that this camera, to get good, quality audio to the camera is going to rely on an audio adapter. And there's lots of ways you could go with that, but the one I think a lot of people are using is this little guy.
This is the A-box from Wooden Camera, and what the A-Box allows me to do is on one side of it, plug in two channels of XLR. So I can plug in and say, maybe a LAV or a boom, and on the other side, I go out to quarter inch plugs. So I can plug those directly in the camera, but the cool part is, if you unplug this a little bit. Just put that little sleeve on. And then just put the adapter and lock it down onto your rails there. And then make sure you have left and right going to the right places. And plug those into the quarter inch ports and now you have XLR connectivity.
However, one big thing about this Rich. Not powered. >> Right. >> So, if you do have condenser mics that are going to require power, they have to either be powered on the microphone itself, batteries, for example. Or you might make. >> Or run it through a mixer. >> Right. >> Which is always a good idea, anyways. >> Right. >> And then let the mixer feed out the XLR. >> Now, SDI, good thing. Thunderbolts, good thing. The other problem over on this side is power. And we've talked about power a lot. And by itself, this camera gets about 60, maybe about 90 minutes of power on the built-in battery. >> It's a magic box that you never open up.
So there is no battery that you can remove. It's strange to me that I could put new SSD's in. >> Yeah. >> But not put new batteries in. >> So because of that you're going to find over the course of a long production day that just running the camera by itself unless you're plugged into a wall is not going to be a good solution. You're going to want to try to find an external battery pack. The one that I recommend and I've been using is made by Switronix and it gives you about quadruple the amount of run time on this camera. And the next thing about it is that it can mount underneath the camera. You can buy a little adaptor to mount it on rails and it's a nice little compact solution.
>> Now, the only other thing that bugs me, and I don't know if you have anything else on your list, is that while I like the fact that it's a touch screen menu on the back here. >> Yeah. >> What invariably happens throughout the day is as you're using said touch screen menu and you're making changes, you get fingerprints all over this thing, so I find myself constantly having to wipe it down to keep it clean. Make sure you take extra steps because it's going to just become a smudge fest. I mean, for some reason it seems like. >> Yeah >> Maybe they didn't put that coating on there, that smudge resistant. >> Yeah, I mean, in general, the LCD screen, screen on the back is okay.
But it's not great. I mean, there are, is, the ability to tap in for critical focus, the ability to go and punch in slate information, but I still find myself relying on an external monitor for the most part. And then, I guess my last sort of issue about this particular camera is that is EF mount only. Now EF mount is great I mean there's lot of lenses from Canon Cinema Primes, the Zeiss Compact Prime and even the Cannon photo lenses and of course a range of third parties. But I kind of felt that like I want to more adaptable lens system. I mean you can adapt things to Cannon.
>> Yeah. >> Quite easily. But I was thinking on a professional camera like this you know the option for a different type of mount, whether it be PL mount or something like that or even just a different version of the camera. Much like they have, you know with the >> Yeah. >> The Blackmagic Cinema Camera. They have an EF and a Micro Four Thirds. It would have been kind of neat to offer this camera with an EF mount and maybe a PL mount as well. >> But who knows. They're always rolling out new versions and new options. All right. Speaking, though, of options, let's take a look at controlling the menus on this camera.
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